Frauen sind keine Engel
Frauen sind keine Engel" was made on a moderate budget and has generally found not as much attention as that which has been rightfully accorded to his 'Viennese trilogy' made at about the same time. Please don't expect the outward splendour of some other Forst films, even though script, acting and direction leave nothing to be desired. However, like many of Forst's more important films this one not only provides great entertainment, but is also a thorough examination of the relation of fiction/art and reality.
Willi Forst
Géza von Cziffra
Casts & Crew
Marte Harell
Axel von Ambesser
Margot Hielscher
Curd Jürgens
Hedwig Bleibtreu
Alfred Neugebauer
Petra Trautmann
Gretl Heinz
Also Directed by Willi Forst
After a shady collector of paintings has been murdered, adept Dr. Sebastian Ott discovers a big organised fraud with fake paintings. His twin brother Ludwig is responsible for it, kidnaps him and locks him away in his house. He uses Otts ID and 'replaces' him...
A woman is put on trial for murdering a dancer who ruined her marriage.
In the made-up country of Alanien, King Alexander I has been overthrown while abroad. Now, he's in Vienna with his daughter, the city of his fondest memories since studying there as a boy. It doesn't take long for the charm of Vienna to work its magic on the former king: he quickly comes to terms with the new situation and is able to enjoy the Austrian capital sans all the ceremony and trappings which would otherwise accompany him on a state visit. The princess is content with preparing herself for a career as a pianist concert, while the former king takes a job as a chauffeur in the embassy of the country he once ruled. The revolutionaries are shocked; and his days in Vienna are numbered.
After a masked carnival ball, Gerda Harrandt, wife of the surgeon Carl Ludwig Harrandt, allows the fashionable artist Ferdinand von Heidenick to paint a portrait of her wearing only a mask and a muff. This muff however belongs to Anita Keller, in secret the painter's lover but also the fiancée of the court orchestra director Paul Harrandt. The picture is then published in the newspaper. When Paul sees it and asks von Heidenick some questions about the identity of the model, the artist is forced to improvise a story and on the spur of the moment invents a woman called Leopoldine Dur as the alleged model. Leopoldine Dur however turns out to be a real woman whose acquaintance Heidenick makes shortly afterwards.
It is a love story between a prostitute and an artist. It was one of the first German films to break several taboos: nudity, suicide and euthanasia. In the Germany of the '50s, this caused a lot of negative reactions by the politicians and the Roman Catholic Church. The opposition reached the degree of banning the film and scandalizing it which paradoxically made it one of the landmarks in the history of film
Head waiter Leopold has been secretly in love with the hostess Josepha for a long time, but she only has eyes for Dr. Siedler, a guest in the White Horse Inn. Leopold tries to get Dr. Siedler interested in the daughter of Industrialist Giesecke, who would rather see his daughter married to Sigismund.
The violin virtuoso Ferdinand Lohner is lonely and depressed after the death of his wife. But then he gets to know the much younger Irene and forgets all about his dead wife, marrying the young tart soon after. Irene moves into the house in the mountains, where Ferdinand, his son Heinz and his former mother-in-law Mrs. Leuthoff live. The bitter Mrs. Leuthoff makes life difficult for Irene, since she had no way of preventing Ferdinand from re-marrying after her daughter bit the dust. When Ferdinand conveniently goes out on tour once again, Irene has to sit at home with the bitter woman. One day, Irene’s cousin Gustl comes on a visit and Mrs. Leuthoff takes the opportunity to “accidentally” let slip to Ferdinand, that his current wife is a whore. As if living with your current mother-in-law isn’t enough to deal with!