The Messy Inheritance in Das Testament des Cornelius Gulden

Is it worth your time?

Honestly, unless you have a soft spot for 1930s German farce, you might find this one a bit of a slog. It’s for the folks who like their humor dry, theatrical, and slightly manic. If you prefer snappy pacing or modern editing, you’ll probably hate it within ten minutes. 🎞️

The whole thing is built around Cornelius Gulden’s last will and testament. Everyone shows up, everyone wants money, and everyone is terrible in their own specific way. It feels like a stage play that someone decided to film without really changing the rhythm.

Theo Lingen is in this, which is basically the only reason I clicked play. He has that way of blinking and twitching that makes even the most tired joke feel like something new. He’s the only one who seems to know he’s in a comedy, while the others are playing it like it’s a high-stakes drama.

There is a scene involving a chair that goes on for way longer than it should. It’s not funny, but it’s weirdly mesmerizing to watch them struggle with it. Why did they keep the camera rolling? Who knows. It just happens.

Cinematic perspective: Exploring the visual vocabulary of Das Testament des Cornelius Gulden (1932) through its definitive frames.

The cast is huge, maybe too huge. There are moments where someone just walks into the frame, says one line, and leaves. It reminds me of the chaotic ensemble energy in Sis Hopkins, though maybe a little less focused.

The sets look like they’re made of painted cardboard. Honestly? I kind of love that. It gives the whole thing a dusty, attic-room feel. You can practically smell the stage makeup.

I found myself zoning out during the long dialogue stretches where people argue about stocks and bonds. Then, someone trips over a rug or makes a face, and I’m back in it. It’s that kind of movie.

It’s not as punchy as The Television Ghost, but it has its moments of genuine silliness. It’s a relic, for sure. Sometimes that’s enough.

Random thoughts:

• The lighting in the library scene is surprisingly moody for a comedy.
• I’m still not sure what half these people are even related to the deceased.
• The music cues are loud. Like, really loud.
• Nobody actually cries when the guy dies. It’s great.

Don't look for deep meaning here. It’s just people yelling about money in fancy clothes. Sometimes, that’s all you need on a Tuesday night. 🎩