When 'So ein Flegel' came out in early 1934, the film was hit by all kinds of restrictions. In particular, it was barred for non-adult audiences, with the censors arguing that it 'endangered public safety', 'violated religious and moral sentiment' and 'damaged Germany's reputation'. This tells you more about how nervous censors were in the early stages of Nazi rule - perhaps because they did not want to fall foul of their new superiors - than about the content and quality of 'Flegel'. It also explains why the film suffered in the theaters, which may, in turn, be one reason for why it is so little know today. Not that there are no other reasons. There is no denying that the remake from 1944 ('Die Feuerzangenbowle') is better, with a more focused plot and better acting and pacing. Nevertheless, the original does have its moments. For example, there is one charming scene where the students dance in the classroom while their teacher is out, and then the returning teacher begins to dance, too, and finally the director of the school, who observes this, begins to dance on the corridor. Also, the characters are drawn quite convincingly. Hans and Erich Pfeiffer (both played by Heinz Rühmann) both change and develop when faced with new circumstances, with Hans becoming more relaxed and Erich more serious. Hans' girlfriend Marion (Ellen Frank) has a bigger and more sympathetic part than in the remake, and his secretary Ilse Bundschuh (Maria Seidler), which the remake dropped entirely, plays an important role, too. 'So ein Flegel' is by no means a great or important film - far from it. But I liked it well enough.
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Philipp_Flersheim25 May 2023
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Horst_In_Translation20 June 2016"So ein Flegel" or "Der Flegel" or "Such a Boor" is a German black-and-white movie from 1934, so this one came out one year after the Nazis came into power. Compared to other films from that time such as "Hitlerjunge Quex" for example, this is not a propaganda film at all. Actually, it is an early version of the one movie that is possibly Heinz Rühmann's most known today: "Die Feuerzangenbowle". That one came out 10 years later, so one year before the Second World War was over (and the Nazi reign as well). Of course this also means that Heinz Rühmann was still in his early 30s here and possibly too young for the part. Or those who love the film may say he was too old by 1944. I have watched the 1944 film a while ago and I must say I cannot share the praise for "Die Feuerzangenbowle". And I am equally underwhelmed by this one here. It is certainly a different take on the Heinrich Spoerl novel than the more known later film, but both did not really do too much for me, especially in comedy which is really the only genre we have here. The acting and script are both fairly forgettable and director Robert A. Stemmle, here about the same age as Rühmann, does not really show either why he became one of Germany's most successful filmmaker in the following decades. I generally like Rühmann, but here not even his great screen presence stayed memorable to me. If you are looking for a quality teacher-themed film starring him, go for "Der Pauker" instead. I give "So ein Flegel" a thumbs-down.
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J. Steed25 September 1999The 2nd adaptation of Heinrich Spoerl's novel (Die Feuerzangenbowle, 1944, q.v.) is a much more well-known classic Heinz Rühmann vehicle than this first intelligently written adaptation. That is a pity as this funny and sometimes hilarious adaptation is much better. By adding a brother to the main character Pfeiffer (giving Rühmann the opportunity to play a double role) not only the story is expanded and given a better foundation, as a result the action of the film is made more plausible and the comedy is enriched as now half the film concerns the pupil Pfeiffer who has to find his way in his brother's place as a writer. The writers also added a couple of fine ideas like e.g. the superb scenes of the dancing classes and the visit to the World Panorama.
Robert Stemmle directed with firm hand and a good feeling for (timing of) comedy and made the whole thing into a playful and lighthearted cinematic treat; compare this to the heavy-handed 1944 version. Rühmann is great and knows to play the brothers of opposite character convincing; his timing is excellent. Fine supporting cast including Oskar Sima who is very good and Rudolf Platte who has (again) only a bit part as the dancing master, but makes him into a hilarious eccentric you are not likely to forget.