Mario Adorf in "Kir Royal": "I shit so much on my money"

He is surrounded by this inexplicable. The Adorf aura. An expansive presence, plus the fire in his voice. 88 years old is Mario Adorf meanwhile, he has taken over numerous major roles, from his first film in 1954 as a private in "0815" on the "Winnetou" rascals or father Matzerath in the "Tin Drum" to old Karl Marx in the ZDF documentary drama "The German Prophet" in 2018. However, it is the first thing that comes to mind to almost all spectators, who literally sticks to it - that is the role of Heinrich Haffenloher in "Kir Royal".

The manufacturer, Europe's market leader for adhesives, in Helmut Dietl's six-part TV series from 1986 moved from a Rhenish nest to Munich, the longing goal of the "Adabeis", as the real Munich celebrities called "Auch sei Seienden". In all its splendor and boasting Haffenloher is a funny guy to burst. And Adorf not only plays him as a clown, a big-guy and money-monger, but also as a brittle character.

Within seconds, he makes the upstart really dangerous and makes the fool a godfather, a modern emperor without clothes: how Haffenloher builds himself in a bathrobe in front of the similarly loud-mouthed reporter Baby Schimmerlos (played by Franz Xaver Kroetz). How he folds him up in his Rhenish chant and intimidates - "I'm pushing you in front and behind in". How the color from the face of Schimmerlos seems to soften, until he can swallow only silently: "Against my coal hath not jeopardy jar ... Come, and now Sachi Heini to me!" This appearance (here in the YouTube video) is one of the outstanding comedic moments of German television entertainment.

One day: Mario Adorf, in many of your legendary roles you have put in your Rhenish Eifel dialect. Keyword: "I fuck you so much with my money ..."

Adorf: If I had said this sentence just like in plain High German, it certainly would not have had that effect, right? I said it dyed Rhenish, even clearer it would be something like this: "Ischlich sowatt sowatt to with my Jeld, dat no ruin minute more hate." This dangerous cozy Kölsch, which I already used in "The Lost Honor of Katharina Blum" as Commissioner. Since I was the hard-hitting investigator, but also could get out of the cozy Cologne, and then strike back with great malice. So in my very first role in "08/15" and much later in the "Blechtrommel" I used my native, Rhenish dialect.

photo gallery

26 pictures

one day: Why is this money quote so incredibly stuck with the people?

Adorf: That's an important scene, because the character is portrayed as ridiculous before, as a career type, who wants to get into the Schickimicki society, degrades himself and throws money around him. Until he suddenly comes to the hotel at night, when drunk, he asks, "Who am I?" The spectators believed until then, he was a ridiculous provincial Heini. And suddenly he lets this shimmerless dance and cleans the down. That was a pleasure for the people. Because this shimmerless by its character, while charming and witty, but then was not a popular figure. I think you allowed him to be taken down by this gunman.

One day: The glue manufacturer suddenly gets something powerful, at least mighty, through your game.

Adorf: "I'll make you fertile!" He says. It was already a good scene in the script. That was almost the same with Haffenloher as in Fassbinder's "Lola" in the role of Schuckert, who was also created by Fassbinder as a bad exploiter. But all this power, including his joviality, were ingredients of mine. I owe them to these people whom I met in my jobs after the war, as a young worker.

one day: In the chord in the pumice pit ...

Adorf: The work down there was: shoveling every day for ten hours, in pairs, in such a way that the conveyor had no places without sand. There was only shoveling, shoveling, shoveling.

Price query time:
02.04.2019, 00:50 o'clock
No guarantee

DISPLAY

Tim Pröse
Mario Adorf. Encore!

Publishing company:

Kiepenheuer & Witsch

Pages:

256

Price:

EUR 20,00

Buy from Amazon Buy from Thalia

Product discussions are purely editorial and independent. The so-called affiliate links above, we usually receive a commission from the dealer when buying. More information here.

one day: And in this hell did a philosopher from Trier come to mind?

Adorf: Yes, in the first Mainz semester of my study of philosophy I had a book by Karl Marx in the hands, I believe the "Communist Manifesto". I read how Marx, who was, so to speak, an Eifel compatriot, describes the lot of the exploited workers. And suddenly I saw myself not only in Marx's theory, but in the bare practice as such a wage slave. When I looked up from the pumice mine, a few times I noticed a man looking down on us, grinning, and calling my buddy "the boss". A fat, red-faced farmer, who now played the entrepreneur in a white shirt with a waving red tie and who shouted down to us: "Hopp, hopp, hopp!" Suddenly I recognized in him the Marx exploiter, and I noticed how a hatred of this person developed in me.

one day: This hatred have you converted to represent such types in the future lifelike?

Adorf: Somebody else is to blame for my portrayal of these characters. In my time as a henchman in construction, I met an entrepreneur who paid me a pittance of 99 pfennigs an hour, but for whom I felt no such hatred. I even admired him because I saw him as one of the "doers" who helped rebuild after the war. In addition to his exploitative business acumen, he was on Saturday after work humorous and generous, donated beer and liquor with the beautiful name Mosel fire. Exactly this boss became my model for the contractor Schuckert 30 years later.

one day: Who then became godfather for the Haffenloher?

Adorf: A Rhinelander, a paint manufacturer, who once came to me at a film ball and whispered to me: "Mr. Adorf, the Nastassja Kinski, dat is indeed a dollet woman. Can you imagine mixing it?" I had that in my ear. He was also a bit angry that I imitated him in the movie so.

one day: Do you regret that so little dialect is spoken in public in Germany?

Adorf: High German has the advantage that we all have a common language, but the disadvantage that many of our beautiful and important dialectical characteristics disappear to this day. When I think back to the early days of television, when most politicians still all had their very clear home accents ... Adenauer! His Kölsch! And also the Swabian Theodor Heuss, the Bayer Strauss. That helped make them important personalities. For me, the basic color of a dialect not only tells something about the origin, but also about the human being himself. As an actor, I quickly realized that using my native dialect in a roll was far more effective than so-called stage German.

one day: Did you get rid of the dialect at drama school?

Price query time:
02.04.2019, 00:30 clock
No guarantee

DISPLAY

Kir Royal (2 discs, Digital Remastered)

Price:

EUR 13.38

Release date:

1986

Author:

Helmut Dietl

with: Franz Xaver Kroetz, Senta Berger, Dieter Hildebrandt, Ruth-Maria Kubitschek

Buy at Amazon

Product discussions are purely editorial and independent. The so-called affiliate links above, we usually receive a commission from the dealer when buying. More information here.

Adorf: You should not hear where someone comes from. You can not generate as much power in High German as in dialect. That's why I still very consciously and always liked to use accents. My first major role was the alleged mass murderer Bruno Lüdke, a Köpenicker with Silesian impact in the language. I had never been to Berlin before, so I had to learn it. Many people then considered me a true citizen of Berlin for decades.

one day: How do you as a world man on dialects, you have dislikes or preferences?

Adorf: I have noticed that all metropolises have a very special kind of dialect. A hard, brash, overbearing and not always pleasant tone. The Berlinish one can still find sympathetic, but it can also be very uncomfortable. In Rome, there is this Romanaccio, very brash and overbearing. In Paris, French often sounds like a kind of environmental language. And German did not and does not have the best reputation abroad. When I spoke German in Italy on the phone in the presence of Italian friends, they said to me afterwards, "What kind of language was that?" It was not German! German goes like this: "Yes my guide, out, out, fast, yeah, yes, that's German. "