Salient: Victoria University Students' Newspaper. Vol. 24, No. 11. 1961
Films — Fraulein Rosemarie
This is an extremely inspiring and fresh movie from one of West Germany's most versatile directors, Rolf Thiele: his films ranging in topics from teddy-girls (Die Halbzarte) to sanatoriums (Labyrinth). Frauelein has as its subject the nefarious practices of certain West German industrial cartels: the particular incidents related in this film being in fact, true to life. About three years ago, a Frankfurt prostitute was earning big money extorting secret trade information from a handful of leading industrialists and selling it to an unknown alien. Her impetuosity finally gained on her however, and she was found one morning, dead—strangled by a stocking. Neither her murderer nor the secrets (recorded on magnetic tape) has been traced.
The movie is interesting if only for its presentation of characters and incidents. Thiele has managed somehow: to imbue an element of sarcasm into the otherwise dramatically macabre plot, by subtle use of characterisation distortion, effective photographic mis-play and an amusing musical background. The characters are seldom shown in a state of sobriety—they are jumping, fully clad, into swimming pools one minute, the next, riding n a funeral procession of black Viercedes up a parking apartment. The photography of Klaus von Rautenfeld is excellent. Not only are the captured images of sordidness and decrepitude perfectly realistic; his use of the zoom shot and triple exposure is masterful also, in evoking, for example, both the hectic rush of modern life and the world as seen through drunken eyes. Music is by Norbert Schultze, and apart from other things, successfully apes parts of the earlier German, Dreigroschenoper.
As Rosemarie, Nadja Tiller is imaginative and well-cast. Her actions are smooth and straight forward; she has none of the flamboyance and superfluousness which Italian and American "flighties" deem essential to carry an impression through. Peter van Eyck and Mario Adorf as respectively, Fribert and Horst, I would name as competent supports to the lead. The script has unfortunately been dubbed into English, thus suffering abominably. Nevertheless, some of the original irony of Thiele and Erich Kuby (his script co-writer) pierces through—mit sehr bedeutung—in places. A competent movie; well played in all departments.