Glückskinder
![](/media/filmstills/2013/retrospektive/20134578_1_RWD_1380.jpg)
Source: Deutsche Kinemathek, © Friedrich-Wilhelm-Murnau-Stiftung
![](/media/filmstills/2013/retrospektive/20134578_1_RWD_1380.jpg)
Lilian Harvey, Willy Fritsch
Glückskinder by Paul Martin
DEU 1936, Retrospective
Source: Deutsche Kinemathek, © Friedrich-Wilhelm-Murnau-Stiftung
![](/media/filmstills/2013/retrospektive/20134578_2_RWD_1380.jpg)
Lilian Harvey, Willy Fritsch
Glückskinder by Paul Martin
DEU 1936, Retrospective
Source: Deutsche Kinemathek, © Friedrich-Wilhelm-Murnau-Stiftung
In order to spare Ann Garden a court sentence (she is picked up for being homeless), New York reporter Gil Taylor presents her as his fiancée and is married immediately in court to the attractive young woman. He loses his job, however, for failing to report this “sensation” in the “Morning Post”. But this is not the only reason why he tries to clarify, with two other colleagues who have also been kicked out on the street, whether Ann might be a wanted millionaire’s daughter … This screwball comedy, inspired by Frank Capra’s It happened one Night (1934), was celebrated in the entire German press for its rapid narration and fast dialogues. In fact, however, the Ufa, which toed the state line, was falling back on success formulae dating from the “System era”: The “dream couple” Harvey/Fritsch are not the only ones to be reunited. Both the constellations of people and the social situation largely correspond to those in the Depression comedies Die Drei von der Tankstelle (1930) and Ein Blonder Traum (1932) produced by Erich Pommer. The new version was made possible by establishing distance. The (film) fun ends with the headline: “Terrible social conditions in the USA!”