Logline:
Paula is a single mother and falls in love with the discontented political functionary Paul. She is determined to find her happiness, while Paul hesitates at first. The DEFA classic is a plea for the right to individual happiness in a socialist state.

Exactly 50 years ago, the GDR cult film celebrated its premiere in East Berlin. Heiner Carow's groovy box office hit about the relationship between a single mother and a married father made the previously unknown band, the Puhdys, stars overnight.

Short text:
Paula, a single mother, falls in love with the political functionary Paul. The latter is dissatisfied with his personal life. Paula wants to realise her new happiness by all means, but Paul reacts fearfully and hesitantly at first, until he senses that he might have found the love of his life. THE LEGEND OF PAUL AND PAULA is a plea for the right to individual happiness - even in a socialist state. In the politicised everyday life of the GDR, where the boundaries between the individual and the collective were blurred, such a message seems deeply political. A hidden critique of socialism is recognisable in Paul and Paula's search for individual happiness, which they place above social conventions.
Heiner Carow's undisguised delight in all things fashionable must also have seemed almost subversive at the time. For THE LEGEND OF PAUL AND PAULA is also a film about various "new looks" in a state that was somewhat sceptical about western fashions, including music.
With around three million viewers, THE LEGEND OF PAUL AND PAULA became a genuine box office hit in a short time. The film music probably contributed to this success. The songs composed by Peter Gotthardt with lyrics by screenwriter Ulrich Plenzdorf made the previously unknown band the Puhdys stars overnight. Some of the hits are still considered East German cultural treasures today.

(31.05.2023)

At the beginning of the film, old houses are being blown up and demolished – an image of renewal. But amongst the collapsing buildings, one can already see the facades of the new ones. A young man throws old junk out of the window. But clearing out the junk is not enough, since living within new walls doesn’t mean that lost happiness can be regained. Paula’s young daughter asks, “Why do I have to grow up?” Her mother responds, “So you can find yourself a man.” She consistently leads her life according to this philosophy and expresses her right to private happiness – not always absolutely sure of herself, but carefree nonetheless. A happiness that she wants to experience right now.

When Paula meets Paul, she already has two children, but no partner. Her previous partner had cheated on her unscrupulously. Paul has also been through some bitter experiences. When he returned to his wife and child after leaving the army, he’d discovered a strange man in his bed.

What should this new life look like? Does life have to be different in a socialist state? At first, Paul tries to put an end to Paula’s rousing claims. “I can’t afford a divorce. Not in my position!” After leaving the army, he managed to get a somewhat desirable job as a functionary. After Paula’s son dies in an accident, the tables are turned in their relationship. Paula, guilt-ridden and defiant towards the until-recently fearfully cautious Paul, retreats back to her own apartment, while the persistent Paul sets up camp outside her front door. Once he’s had enough, the film takes on one of many comedic twists. Paul rings the doorbell of one of Paula’s elderly neighbours and asks whether she has a hatchet or an axe. Then, without further ado, he smashes in the door to Paula’s apartment. Instead of calling the police, the neighbours glow with happiness when they witness the reconciliation. But Paula stays true to her idea of happiness. She wants to have a child with the man she loves, even knowing that this will lead to her death.

One shouldn’t be fooled by the film’s melodramatic ending. THE LEGEND OF PAUL AND PAULA is a very cheerful and relaxed film, and one can see the joy that was present during the staging and acting in every part of the film. Styles change in individual scenes in a carefree manner – sometimes it may only be short, daring cabaret numbers which appear throughout the film. Heiner Carow’s unconcealed joy in all things fashionable must have had a subversive effect in the GDR. For THE LEGEND OF PAUL AND PAULA is also a film about different “new looks” in a state where western fads, including music, were viewed with scepticism. He sees outer appearances for what they are; as expressions of the idea of happiness. It all starts with Paula’s ex-partner’s afro hairstyle, continues with Paul’s dandyish official’s outfit and then with a tire dealer’s luxury bungalow, where the owner is quick to swap radial tyres for Finnish mixer taps.

Two different types of ethics confront each other – a new, liberal type, which stands for the right to happiness and fulfilment in one’s private life, and an old, static type, based on self-pitying and lethargic contentment. A departure from socialist narrow-mindedness is depicted. “Immorally” bourgeois Paul makes it clear to his parents-in-law that the reason they lost their business, a merry-go-round, isn’t because of scheming, evil men, but due to tax fraud. We can thank not only Heiner Carow for the enchanting irony found in the film, but also the screenplay writer Ulrich Plenzdorf. Hardly any other DEFA film appears freer and more liberal. Previous productions that sought similar freedom, such as Frank Beyer’s TRACE OF STONES (1965/66), were banned from distribution by censorship mechanisms.

The avoidance of ideological censorship and the confirmation of the need for private happiness in a socialist state that strives to overcome individual fulfilment were certainly the main reasons why THE LEGEND OF PAUL AND PAULA became one of the most successful nationally-produced films in the GDR. Insisting on living their lives the way they want – even when it leads to death – evokes a feeling of small-scale anarchy that is still practiced, even if it has been hard-earned and largely serendipitous in nature.


Filmography (feature films, selection)

1956/57 SHERIFF TEDDY
1958 SIE NANNTEN IHN AMIGO
1963 THE LANNEKEN WEDDING (DIE HOCHZEIT VON LÄNNEKEN)
1965/66 DIE REISE NACH SUNDEVIT
1968/70 KARRIERE
1972/73 THE LEGEND OF PAUL AND PAULA (DIE LEGENDE VON PAUL UND PAULA)
1975 ICARUS (IKARUS)
1977/78 UNTIL DEATH DO US PART (BIS DASS DER TOD EUCH SCHEIDET)
1988/89 COMING OUT
1991/92 THE MISTAKE (DIE VERFEHLUNG)
1995/96 FÄHRE IN DEN TOD


Hans Günther Pflaum (25.02.2016)

Production Period

1972/1973

Production Year

1973

color

color

Aspect Ratio

1:1,66

Duration

Feature-Length Film (61+ Min.)

Type

Feature Film

Genre

Love Film, Drama

Topic

Love, Relationship / Family, GDR

Available Media

DVD, DCP, Blu-ray Disc

Original Version

German (de)

DVD

Subtitles

English (en), French (fr), Spanish (es), Portuguese (Brazil) (pt), Arabic (ar), Chinese (zh), Russian (ru), Czech (cs), Korean (ko)

DCP

Subtitles

English (en), French (fr), Spanish (es), Portuguese (Brazil) (pt), Arabic (ar), Chinese (zh), Russian (ru), Czech (cs), Korean (ko)

Blu-ray Disc

Subtitles

English (en), French (fr), Spanish (es), Portuguese (Brazil) (pt), Arabic (ar), Chinese (zh), Russian (ru), Czech (cs), German (de), Italian (it)