Hake argues in her third chapter that by the 1960s and 70s the failure of the GDR to establish democratic structures that would distinguish it from fascism produced a pervasive melancholia discernible in the films of Frank Beyer
(Funf Patronenhulsen; Nackt unter Wolfen) and Konrad Wolf (Ich war neunzehn; Mama, ich lebe).
Its importance can be attributed above all to the impact of Bruno Apitz's best-selling novel Nackt unter Wolfen (1958) and a film version of the same name directed by Frank Beyer
, a German director who fell in and out of favor with Communist East German leaders before his 1975 drama "Jakob the Liar" became the first and only East Germany film nominated for the foreign-language Academy Award, died Oct.
His attempt, together with Frank Beyer
, to produce a film entitledyakob der Lugner in the mid- 1960s, before the novel of the same name appeared, did not fail because of SED opposition to the theme or to Beyer, who had been criticized for his 1966 film Spur der Steine, but because of a lack of co-operation from authorities in Poland, where the film was to be shot, possibly because of a degree of anti-Semitism there.
This was the East German film org that turned out a raft of pictures, most of them heavily propagandist in tone, but with directors like Konrad Wolf and Frank Beyer
displaying a talent for storytelling that often transcended their somber material.
16) In the early 1970s the EastGerman film director Frank Beyer worked with Becker on a (new) script which adopted the 'real' ending of the novel, in which all the inhabitants of the unnamed Polish
Becker had submitted an expose to DEFA in January 1963, and in autumn 1965 Frank Beyer, while he was completing the film Spur der Steine, joined Becker to work on the script (Beyer, pp.
Frank Beyer has written that the GDR authorities at no stage attempted to intervene in order to change the script (Beyer, p.
The two film versions are the 1974 DEFA production Jakob der Lugner, directed by Frank Beyer, screenplay by Frank Beyer and Jurek Becker, and the 1999 Columbia Tristar production Jakob the Liar, directed by Peter Kassovitz, screenplay by Peter Kassovitz and DidierDecoin.
16) In his autobiography Frank Beyer recalls a dialogue between himself and Becker about what Americans would do with the material if they attempted to film it.