Directed by:
Sigi RothemundScreenplay:
Erich TomekCinematography:
Heinz HölscherComposer:
Gerhard HeinzCast:
Elisabeth Volkmann, Erich Tomek, Erich Padalewski, Hans Terofal, Willy Harlander, Rinaldo Talamonti, Catharina Conti, Carlamaria Heim, Elisabeth Felchner (more)Plots(1)
As we know, Germany was working on developing weapons of mass destruction during World War II. But contrary to history books, efforts in this area continued for many decades after the Allied victory. Except that due to the German disarmament they moved to the cultural front, where they achieved drastic effectiveness under the innocent label of “German humor”, the most feared variant of this devastating weapon being the folksy 18+ model, codenamed “Lederhosenfilm”. And now we have decided to unleash its power on you! Sigi Rothemund’s sex comedy Alpine Glow in Dirndl Skirts tells the story of Vögelbrunn (Fuckville), a remote Bavarian village that needs to increase its population in order to get upgraded to market town status. And we do not have to explain their favorite strategy for overcoming this deficit. (The Shockproof Film Festival)
(more)Reviews (1)
Alpine Glow in Dirndl Skirts is a showcase of all of the clichés of Tyrolian sex comedies – from the kind-hearted parish priest and the comical gay character to the exuberant calisthenics and demonisation of marital sex to atrocious humour with jokes whose punchlines viewers see coming from a mile away. This time, however, there is the added bonus of a peculiar premise that turns the traditional no-strings-attached and consequence-free romps that are typical of the genre on their head. Because of state subsidies, the village of Vogelbrunn decides to cross the demographic threshold to a higher territorial administrative status, which means that everyone has to start having children. The frenzy of folk humour here elicits incredulous head shaking rather than peals of laughter. I will thus take the liberty of mentioning the sociological experiment that we carried out at the Shockproof Film Festival, where we screened Alpine Glow in Dirndl Skirts with a faithful translation of the original and encouraged viewer interaction with a game of movie bingo. In addition to stimulating discussions about which of the many creative synonyms such as “darling” can or cannot be applied to individual scenes of the film, the screening also demonstrated the power of a collective experience in which the awkwardness of jokes becomes their comedic essence.
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