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8.7/10
Senior Film Conservator
A definitive 8.7/10 rating for a film that redefined the boundaries of cult cinema. Ein Mann mit Herz remains a cornerstone of transgressive art.
If you are in the mood for a dusty 1930s German comedy where the whole plot relies on people refusing to talk to each other, Ein Mann mit Herz is actually pretty fun. But if you get annoyed by movies where a single ten-second conversation would end the entire conflict, you will probably want to throw your shoe at the screen. 📺
It is basically a silly misunderstanding story. Paul, who works at a big bank, falls head over heels for this lovely girl.
The catch? She is actually the boss's daughter, but Paul has absolutely no clue.
So when he sees her hanging out with the boss and being all affectionate, he gets insanely jealous. He thinks his boss is some kind of old sugar daddy.
Gustav Fröhlich plays Paul. You might know him as the dramatic hero from Metropolis, but here he is just a regular guy looking incredibly stressed out.
His face during the jealousy scenes is honestly hilarious. He does this thing where his eyes go wide and his mouth twitches, like he just swallowed a lemon. 🍋
There is this one incredibly long shot where he is spying through a glass partition in the bank. The glare on the glass makes it almost impossible to see his face clearly, but you can still feel his pure anger.
I kept waiting for someone—anyone—to just say, "Hey, that is his daughter." But of course, they don't.
It reminds me a bit of Eine Freundin so goldig wie Du in how it handles these lighthearted romantic mix-ups, though that one felt a little more breezy. This one drags a bit in the second half.
Also, we have to talk about Max Schreck. Yes, the Nosferatu guy is in the cast list!
He is not playing a vampire here, obviously, but just seeing his tall, lanky frame in a mundane bank setting is so weirdly satisfying. He has a tiny role, but he completely steals the background whenever he is on screen.
The music is also very loud. Like, very loud, especially during the scene where Paul is walking down the street in a huff.
It is like the orchestra was trying to make up for the lack of actual drama in the script.
Sometimes the pacing just stops dead. There is a scene in an office that goes on for about three minutes too long while people shuffle papers.
But if you like old Weimar-era cinema, it has a very specific charm. It feels like a postcard from a completely different world.
Just do not expect a masterpiece. It is just a goofy, sweet little film that survives on the charm of its cast.
IMDb 6.8
1917
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