Everyday Life in the German Democratic Republic
THE DOVE ON THE ROOF
Director: Iris Gusner
1973, 82 min., English subtitles
The engineer Linda (Heidemarie Wenzel) is in charge of a large building site in the South of the GDR where hundreds of prefabricated flats are being built. She falls in love with two of the men on her construction team: The young free-spirited student Daniel (Andreas Gripp) who works on the site during his holidays and the foreman Hans Böwe (Günter Naumann) who has built many houses but lost his own home over his commitment to work. Linda loves her work and her independence but risks losing sight of her own happiness.
When Iris Gusner, one of very few East German women directors, previewed the rough-cut of her debut film, she was accused of presenting an "unrealistic picture of life". Especially her portrayal of the worker Böwe as a tragic figure was being criticized: Gusner was told to have "spat into the face of the working class". The film was banned and the film print lost. It was only in 2010 that the film, originally shot in colour, was reconstructed and released in black and white at the cinemas.
Critics praise this film as an example of Nouvelle Vague (New Wave) from the GDR. The film raises questions about the importance of work, love and happiness in socialist East Germany of the 1970s. Iris Gusner has repeatedly focused on the role and emancipation of women in her films, often questioning the official and the real gender roles in GDR society.
Background:
EVERYDAY LIFE IN THE GERMAN DEMOCRATIC REPUBLIC
The GDR defined itself as the "first workers and farmers' state on German soil". The central role of "the workers" was a key in the ideological portrayal of socialism in communist countries of the time. Thus, depicting working life was very important in the state funded and controlled art production in East Germany. Films reflecting on the reality in the GDR, on everyday and working life were therefore often particularly closely looked at by the officials. It was not always easy to portray a true view of reality, nevertheless, many filmmakers wanted to show what life in the GDR was like, a way for them not to criticize but to point to weaknesses in the socialist dream, in their view open for improvements. These films however were often censored or even banned.
Back
