[Free Download Film Helga 1967
Everardo Laboy
The film was produced between 1966 and 1967 by Rinco-Film in Munich for the West German Federal Ministry of Health under health minister Kte Strbel through the German Health Museum.[9] It documents the pregnancy of a young woman from the first visit to the doctor all the way to childbirth.[1][10][11] Upon its release, it was classified as a documentary by the West German film classification board SPIO.[12]
The film has been studied due to its impact on German society involving the sociopolitical implications of the intervention by the West German federal government in matters of sexual education involving the mass media as well as the curriculum they approved regarding sexual matters. The West German federal government used the film as an educational tool but also as a means to gain influence in areas such as public health and education which were traditionally under regional jurisdiction, possibly even bypassing constitutional issues governing the distribution of powers between the Federal government and the regions. Up to that time, regional authorities could veto Federal policies which were seen by them as encroaching on their cultural policies.[1]
The success of the film when viewed by an audience of a wide and diverse demographic was analysed in terms of its influence on social thinking. Gender issues related to the film have been considered due to the fact that matters traditionally concerning privacy, intimacy and femininity, up to that point in time, were made public to a wide demographic through film and the mass media. The commercial success of the film has also been examined since it was a sex-education film without any famous actors or an elaborate plot.[1] The film was successful in countries such as France, Italy and England which were considered "prudish" at the time.[13] In Paris, 1,500 Catholic priests and nuns attended a private screening of the film arranged by centrale catholique. The film was also extensively covered by print media such as Elle and Paris Match.[8]
The film was a product of a political decision by the West German Federal government to educate the people regarding matters related to procreation and family planning at a time of advances in the fields of human genetics and contraception. The film gained acceptance in the young adult demographic due to their desire to be informed about issues related to family planning and childbirth as part of a consumer society in which women had to work. Educators, although worried about the impact of the violence of the scenes during childbirth upon the young, also accepted that the film could aid the understanding of husbands concerning the great pains experienced by their wives during childbirth. The film also presented a new model of informed motherhood based on knowledge and social awareness.[1]
The film received generally positive reviews, with the conservative press leading the way. Frankfurter Allgemeine Zeitung described the film as "enlightening in a comprehensive and rational manner, without hypocrisy and false shame".[1] The critic added: .mw-parser-output .templatequoteoverflow:hidden;margin:1em 0;padding:0 32px.mw-parser-output .templatequote .templatequoteciteline-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0
The cell proliferation is an aesthetic pleasure, an opal-like miracle of colour with effects of light and backlight, a piece of art from the era of Tachisme. The colours are so nice, the fast changes so wonderful that one nearly forgets the subject. Other processes [e.g. the representation of the different stages of the embryo] were still difficult to represent, some shots succeeded here for the first time; experts will rack their brains over how this was achieved
The conservative Mindener Tageblatt commented that "the really scientific information had been conveyed in a flawlessly proper manner without prudery and without arousing inappropriate sexual feelings".[1]
We are at the point of wasting one of our basic rights: the right to keep silent and to privacy [verschlossene Tren] about certain aspects of life which should not be revealed to the public eye as they belong to the private sphere of human nature.
The press which was present at the sneak preview also criticised the film's "ridiculous frame action", "heavy didactic tone" and "lack of contraceptive information". Women correspondents also complained that Helga in "her perfect makeup" during childbirth "did not adequately depict the pain of the anonymous woman in labour".[1]
Other audience reactions included those of some teenage girls which were shocked by the placenta removal scenes and the subsequent revelations that the placenta was used for the production of cosmetics. The perspective and appearance of medical instruments was also criticised as reminiscent of a horror film.[1]
[James Bond Films] SIGNED STILL. One colour film still from Lewis Gilbert's 1967 film, SIGNED by Karin Dor (Helga Brandt) in black marker. Mounted on white card ready to frame. Total dimensions 26 x 31cm. Item #59866
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[James Bond Films] SIGNED TITLE CARD. One colour title card for Lewis Gilbert's 1967 film, SIGNED by Karin Dor (Helga Brandt) and Mie Hama (Kissy) in black marker. Mounted on white card ready to frame. Total dimensions 26 x 31cm. Item #59868
Helga Piur was born in 1939 in Berlin. She was the youngest of six children. At the age of five, her mother dies. Helga grows up with her father's sister and her husband. As a child Helga sang in the radio children's choir. She later acted for a lay playgroup and was a secretary at the Dietz publishing house in Berlin. Several applications at the drama school failed. Therefore, she took private lessons with actor Eduard von Winterstein. Since 1959, she regularly appeared on German television. First, she acted mainly in childrens programs. She portrayed such popular characters as the doll Edelgard or Bastelinchen in programs such as Unser Sandmnnchen/Our Sandman (1959), Bahnhof Puppenstadt/Station Puppet City or Treff mit Petra. Piur was also quickly cast in TV comedies and thrillers. From the early 1960s, she is also engaged by the DEFA for some films, including the love story Wo der Zug nicht lange hlt/Where the train does not stop long (Joachim Hassler, 1960) with Stefan Lisewski, and the musical Das Stacheltier - Der Dieb von San Marengo/The Stinging Animal - The Thief of San Marengo (Gnter Reisch, 1963) with Horst Drinda. Das Stacheltier was a satirical series of short films that was produced in East Germany by the DEFA Film Studios from 1953 to 1964. Over the next two decades, she appeared in a variety of roles in a wide variety of film genres. She was also active as a voice actress and performed for the radio.
From 1967 to 1982 Helga Piur was heard as Brigitte Neumann in most of the 678 episodes of the popular radio drama series Neumann, zweimal klingeln/Neumann, ring twice on Radio DDR I. Her films in this period included Orpheus in der Unterwelt/Orpheus in the underworld (Horst Bonnet, 1974) with Dorit Gbler and Rolf Hoppe. Piur became a superstar in the GDR with the television series Zahn um Zahn/Tooth for a Tooth (1985-1988), where she portrayed the receptionist Victoria Happmeyer, called Hppchen, on the side of Alfred Struwe as the Berlin-based dentist Dr. Alexander Wittkuge. Since 1988 Piur belonged to the permanent ensemble of the DFF, which ended however in 1991. Nevertheless, she was later often seen on television even after the fall of the Berlin Wall in 1989-1990 and is particularly dedicated to synchronisation work. In the GDR, Piur was often awarded. She gave Brigitte Bardot her voice in synchronised films. Helga Piur was married to the actor Gert Andreae until his death in 1972. In 1974 she married the writer and director Gnter Stahnke, with whom she was married until his death in 2018. She often appeared in his TV-films. In 2009 her book Ein Hppchen von mir (A Slice of Me) appeared. Helga Piur lives in Fredersdorf. She has a daughter.
Ce film sur l'ducation sexuelle, sorti en France l'poque des vnements de mai 1968, a t le plus gros succs au box office en France pour un film allemand avec 4 121 349 entres en 1968[2]. Il a fait encore plus d'entres dans d'autres pays europens, l'instar de l'Italie o il a runi 8 080 808 spectateurs dans les salles, le propulsant en 1re position du box-office italien 1967-68.
Le film raconte la vie intime d'Helga, une jeune femme allemande. Inexprimente, elle veut se marier. Un gyncologue lui parle des rapports sexuels et du contrle des naissances. Elle tombe enceinte et assiste un cours pour les futures mamans. La naissance de son premier bb est montre en dtail. Elle est une mre heureuse et donne naissance trois autres enfants.
Le film arrive 5e au nombre d'entres en 1968 en France avec 4,1 millions d'entres[4], et plus de 4 millions de spectateurs en Allemagne[3]. Le film reoit des ractions nuances de la part d'ducateurs et de mdecins[5].
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