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Cinema – Warmed Up Behind Instagram Filter – Culture

  • Til Schweiger has made a remake of his film "Honey in the head" in English.
  • The hectically cut Schnulze ran in the USA in only four cinemas.
  • Even the German audience seems to have no interest in looking at the scene for scene nachgedrehten film again.

Anyone who engages in Til Schweiger's "Head Full of Honey" enters a fairytale kingdom, which in 2019 will probably be considered a paradise. Everything is perceived as if through an Instagram filter: Warm summer light is always shining, a lazy wind is blowing through shiny hair, young nuns with full lips are smiling between lingerie blowing in the wind. Things that fall and people who run always do this in slow motion. Things are made of dark wood or copper or brass, and Venice is still a magical city – and not the scene of a war between residents and tourists.

It is always clear in this film that nobody is guaranteed to hurt

If this world already looks familiar, that's right: With "Head Full of Honey" Til Schweiger has shot his own hit movie "Honey in the head", which attracted more than seven million visitors to the cinema, again. This time, however, in English and with American and English actors. The idea behind it was probably the thesis that even the Americans of this heartache story would hopelessly expire if they a) did not have to read subtitles and b) would not be forced to look in the face of Dieter Hallervorden. This turned out to be a fundamental mistake: The film only started in four cinemas in the US and grossed $ 12,000.

Til Schweiger Til Schweiger is deposed

Til Schweiger is deposed

German humor is not exactly an export hit. "Fack ju Göhte" in Mexican was a risk – and the US version of "Honey in the head" is discontinued after a week.By Martin Zips


But alright, that was kind of hostile territory. In Germany, however, Til Schweiger rules as the king of the box office, because – because it was so nice the first time – this remake does not start with four, but with more than 300 film copies. And, of course, the first thing that stands out is that the story has not changed: Amadeus, now no longer played by Dieter Hallervorden, but by Nick Nolte, has Alzheimer's. Nobody had noticed that until after his wife's death but his condition deteriorated rapidly. At the memorial service he gives a confused speech in which he praises her breasts and blasphemes about her baking skills. When he eventually finds his way back to the grave of his wife, his son Nick (Matt Dillon) decides to bring him to London. He gets on well with his neglected granddaughter Matilda (Sophie Lane Nolte), but he is not feeling any better.

He pees in the fridge, calls in the middle of the night with a banana in his hand, destroys the summer party of his daughter-in-law, fires fireworks into the crowd, and almost burns the house while baking. When Matilda's parents decide to take him to a home for people with dementia, she makes a decision: She will travel to Venice with Amadeus. There he once made a marriage proposal to his wife; none of his memories seem to be tarnished in Venice. The sleeping parents leave them behind, and with the help of many young, beautiful people, they travel halfway across continental Europe and the Alps by train, on foot and hitchhiking, finally finding out in the city of love what family really means. Of course, it is always clear that nobody will hurt themselves: in one scene, two cars crash into each other at full speed, in another, the confused Amadeus shoots wildly with a pistol. But nobody gets hurt.

When compared to the original one realizes that everything really repeats scene by scene, action, locations, aesthetics. Despite the transmission from German into English and back to the German dubbed version, even most of the dialogues and jokes are taken over one to one. Even the hectic section, which dismembers even meaningful dialogues or potentially touching father-son pronunciations like action sequences, comes straight from the original.

Who is missing, and who would have thought that, are the Schweigers. Instead of Til, who originally plays the son of the confused Amadeus, now acts Matt Dillon. Dillon, however, does not play Til Schweiger as well as Til Schweiger himself. Because he does not master too many roles, but he plays the charming, self-directed, brown-tinged Hallodris with great fervor. He even cries once, not even Matt Dillon is allowed to. Even his daughter Emma Schweiger, who plays the granddaughter in the original, is missing. After "Honey in the head" one was convinced that she must be very charming, very smart and very bright, just like her character in the movie – probably the role was written as for her. In the American version, Sophie Lane Nolte (who in real life is not Nick Nolte's granddaughter, but his daughter) does not succeed in taking on the role. Instead, she simply copies the facial expressions and gestures of Emma Schweiger, down to the friendly-annoyed eye rolling.

German moviegoers seem to have guessed that nothing new can be seen here

In short: Who knows the original, does not need to see this remake. It's almost as long (more than 130 minutes!), Just as uncomfortably fast cut and underlaid with equally questionable-dramatic pop music. In any case, the German cinema visitors seem to have guessed that: The film is missing in the top 20 list of visitors last weekend, which means that less than 10 000 people wanted to see him. Insiders even go from even more catastrophic numbers. Will Til Schweiger have to give up the crown of the German box office king? Maybe it just means that a Til Schweiger film without members of the Schweiger family is not a tempting offer

Head full of Honey, D 2018 – Director: Til Schweiger. Book: Schweiger, Lo Malinke, Jojo Moyes. Camera: René Richter. With: Nick Nolte, Matt Dillon, Emily Mortimer, Sophie Lane Nolte. Rental: Warner, 132 minutes,

Responses to remake of "Honey in the head"

"As funny as a root canal treatment without anesthesia"

The American reviews of Til Schweiger's US remake of his German hit movie are devastating. A selection.


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