[27], Kearsley's version was a marked popular success. Baron Munchausen (/ˈmʌntʃaʊzən, ˈmʊntʃ-/;[1][2][a] German: [ˈmʏnçˌhaʊzn̩]) is a fictional German nobleman created by the German writer Rudolf Erich Raspe in his 1785 book Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia. [44] Whether he expects his audience to believe him varies from version to version; in Raspe's original 1785 text, he simply narrates his stories without further comment, but in the later extended versions he is insistent that he is telling the truth. Same contents as the Fourth Edition, plus the trips to Ceylon (added at the beginning) and Mount Etna (at the end), and a new frontispiece. It first appeared anonymously as Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia, a 49-page book in 12mo size, published in Oxford by the bookseller Smith in late 1785 and sold for a shilling. [87] The American writer Peter David had the Baron narrate an original short story, "Diego and the Baron", in 2018. This third edition was sold at two shillings, twice the price of the original, as Gulliver Revived, or the Singular Travels, Campaigns, Voyages, and Adventures of Baron Munikhouson, commonly pronounced Munchausen. The next day, the Baron, out of his costume and in modern dress, regales the young woman and her fiancé with stories of the famous Baron Münchhausen, to whom his guests think he is distantly related. By the beginning of the 19th century, Kearsley's phenomenally popular version of Raspe's book had spread to abridged chapbook editions for young readers, who soon became the main audience for the stories. [3] Additionally von Weise wrote on the movement of entire sets across the border in railcars with “precious carnival costumes” amid numerous other set pieces that were brought along and used by local Venetians as extras in the film. [22], This English edition, the first version of the text in which Munchausen appeared as a fully developed literary character,[23] had a circuitous publication history. The Baron is wounded in the duel and he goes to Cagliostro, who has recently arrived in St. Petersburg, to tend to the wound. [38][c], In the first few years after publication, German readers widely assumed that the real-life Baron von Münchhausen was responsible for the stories. [40], The following tables summarize the early publication history of Raspe's text, from 1785 to 1800. [28] Most ensuing English-language editions, including even the major editions produced by Thomas Seccombe in 1895 and F. J. Harvey Darton in 1930, reproduce one of the rewritten Kearsley versions rather than Raspe's original text. The film’s production began in 1941 with an initial budget of over 4.5 million Reichsmarks (ℛℳ) that increased to over 6.5 million ℛℳ, after Goebbels’ intentions to “surpass the special effects and color artistry” of Alexander Korda's Technicolor film The Thief of Bagdad. After these publications, the English and Continental versions of the Raspe text continued to diverge, following increasingly different traditions of included material. The dinner scene that is set in the Russian palace featured real gold and silver tableware as well as Meissen porcelain on loan from museums, and was protected by SS guards dressed in costume while the scene was shot. [6] His cousin, Gerlach Adolph von Münchhausen,[7] was the founder of the University of Göttingen and later the Prime Minister of the Electorate of Hanover. [91] Grigori Gorin used the Baron as the hero of his 1976 play That Very Munchausen;[92] a film version was made in 1980. When the film was first released it had a run time of 133 minutes, however a second re-censored version was released three months later with a run time of 118 minutes, indicating the decision to remove the most controversial aspects of the film by the Ministry of Propaganda. [12], Münchhausen's wife Jacobine von Dunten died in 1790. Includes twenty-three engravings and an "Elegy on the Death of Herr von Münchhausen" (though the real-life Baron had not yet died). [19], In the stories he narrates, the Baron is shown as a calm, rational man, describing what he experiences with simple objectivity; absurd happenings elicit, at most, mild surprise from him, and he shows serious doubt about any unlikely events he has not witnessed himself. The Baron refuses to go, and instead, he revokes Cagliostro's gift. Over the next few years, the publishing house issued further editions in quick succession, adding still more non-Raspe material along the way; even the full-length Sequel to the Adventures of Baron Munchausen, again not by Raspe and originally published in 1792 by a rival printer, was quickly subsumed into the body of stories. Four illustrations from the English Second Edition and three new ones. Film. The club's early activities included identifying "historical proofs" of the fictional Baron's travels through Königsberg, such as a jackboot supposedly belonging to the Baron[122] and a sperm whale skeleton said to be that of the whale in whose belly the Baron was trapped. He agrees to stay until one of them wants more freedom. [124] Bodenwerder sports a Munchausen monument in front of its Town Hall,[77] as well as a Munchausen museum including a large collection of illustrated editions of the stories. She offers to appoint him to be her general aide-de-camp and install him in a room below hers, with a secret elevator between the two so that they can carry on their affair. [London:] H. D. Symonds, 1792 [a second edition was published 1796], Original English sequel, satirizing the travels of, This page was last edited on 13 February 2021, at 19:21. [96] In the routine, Pearl's Baron would relate his unbelievable experiences in a thick German accent to Hall's "straight man" character, Charlie. [35] It was often credited to Bürger,[19] sometimes with an accompanying rumor that the real-life Baron von Münchhausen had met Bürger in Pyrmont and dictated the entire work to him. Cagliostro grants his wish. To God alone be praise!”[81], In the late 19th century, the Baron appeared as a character in John Kendrick Bangs's comic novels A House-Boat on the Styx, Pursuit of the House-Boat, and The Enchanted Type-Writer. Upon retiring in 1760, he became a minor celebrity within German aristocratic circles for telling outrageous tall tales based on his military career. [6], The Extraordinary Adventures of Baron Munchausen, https://en.wikipedia.org/w/index.php?title=Münchhausen_(1943_film)&oldid=996613388, Cultural depictions of Catherine the Great, Creative Commons Attribution-ShareAlike License, This page was last edited on 27 December 2020, at 17:32. [2], Münchhausen was the third feature film made in Germany using the new Agfacolor negative-positive material. [94][g] The following year, the National Black Light Theatre of Prague toured the United Kingdom with a nonmusical production of The Adventures of Baron Munchausen. [3], Adolf Hitler and Goebbels had a well-documented disagreement over how propaganda for the Third Reich should be produced, with Goebbels favouring the Volksfilm style. [5] He was a younger son of the "Black Line" of Rinteln-Bodenwerder, an aristocratic family in the Duchy of Brunswick-Lüneburg. [71] Notable later translations include Gautier's French rendering[59] and Korney Chukovsky's popular Russian adaptation. [93], In 1988, Terry Gilliam adapted the Raspe stories into a lavish Hollywood film, The Adventures of Baron Munchausen, with the British stage actor and director John Neville in the lead. In the process of revision, Raspe's prose style was heavily modified; instead of his conversational language and sportsmanlike turns of phrase, Kearsley's writers opted for a blander and more formal tone imitating Augustan prose. Méliès's short silent film, which has little in common with the Raspe text, follows a sleeping Baron through a surrealistic succession of intoxication-induced dreams. Roger Ebert, in his review of the film, described Neville's Baron as a man who "seems sensible and matter-of-fact, as anyone would if they had spent a lifetime growing accustomed to the incredible". [97] Pearl attempted to adapt his portrayal to film in Meet the Baron in 1933, playing a modern character mistaken for the Baron,[97] but the film was not a success. [60], The relationship between the real and fictional Barons is complex. Though the Baron Munchausen stories are no longer well-known in many English-speaking countries, they are still popular in continental Europe. [101], The early French filmmaker Georges Méliès, who greatly admired the Baron Munchausen stories,[66] filmed Baron Munchausen's Dream in 1911. “Der Film “Baron Münchhausen” versteht es, den Zuschauer auf eine amüsante Art zu unterhalten. Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia, Anthony Ulrich II of Brunswick-Wolfenbüttel, The Extraordinary Adventures of Baron Munchausen, The Fabulous Adventures of the Legendary Baron Munchausen, Aarne–Thompson–Uther classification system, "English pronunciation of 'Munchausen's syndrome, "The National Black Light Theatre of Prague: The Adventures of Baron Munchausen", "ARD-Zweiteiler "Baron Münchhausen": Müssen Sie sehen! Among Czech speakers, the fictional Baron is usually called Baron Prášil. The simplified spelling Munchausen, with one. The character has inspired numerous memorials and museums, and several medical conditions and other concepts are named after him. [20] Raspe's name did not appear at all. [19] "M-h-s-nsche Geschichten" appeared as a feature in the eighth issue of the Vade mecum für lustige Leute (Handbook for Fun-loving People), a Berlin humor magazine, in 1781. [112] Karel Zeman's 1961 Czech film The Fabulous Baron Munchausen commented on the Baron's adventures from a contemporary perspective, highlighting the importance of the poetic imagination to scientific achievement; Zeman's stylized mise-en-scène, based on Doré's illustrations for the book, combined animation with live-action actors, including Miloš Kopecký as the Baron. [75] Herbert Eulenberg made the Baron the main character of a 1900 play, Münchhausen,[90] and the Expressionist writer Walter Hasenclever turned the stories into a comedy, Münchhausen,[79] in 1934. [77], In 1951, the British physician Richard Asher published an article in The Lancet describing patients whose factitious disorders led them to lie about their own states of health. [117] Another Soviet animated version was produced as a series of short films, Munchausen's Adventures, in 1973 and 1974. Nach dem letzten, diskreten Pinselstrich sorgen wir für Ordnung und Sauberkeit – damit Sie sich sofort wieder wohl in Ihren Wohn- und Arbeitsräumen fühlen. A review in The Reading Teacher noted that Ustinov's portrayal highlighted "the braggadocio personality of the Baron", with "self-adulation ... plainly discernible in the intonational innuendo". Baron Munchausen (/ ˈ m ʌ n tʃ aʊ z ən, ˈ m ʊ n tʃ-/; German: [ˈmʏnçˌhaʊzn̩]) is a fictional German nobleman created by the German writer Rudolf Erich Raspe in his 1785 book Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia.The character is loosely based on a real baron, Hieronymus Karl Friedrich, Freiherr von Münchhausen. Großartiger Film! [3] The sequence of scenes in Venice was shot on location, with Irmen-Tschet gaining private access to the Grand Canal for an entire day, as noted by Eberhard von Weise who worked on the film's production. [70] In a 2012 study of the Baron, the literary scholar Sarah Tindal Kareem noted that "Munchausen embodies, in his deadpan presentation of absurdities, the novelty of fictionality [and] the sophistication of aesthetic illusion", adding that the additions to Raspe's text made by Kearsley and others tend to mask these ironic literary qualities by emphasizing that the Baron is lying.[52]. The pair fight a "cuckoo duel" in a darkened room, where one party is obliged to call "cuckoo" while the other aims and fires a pistol at the sound of his opponent's voice. The real-life Münchhausen was deeply upset at the development of a fictional character bearing his name, and threatened legal proceedings against the book's publisher. [5] As another contemporary put it, Münchhausen's unbelievable narratives were designed not to deceive, but "to ridicule the disposition for the marvellous which he observed in some of his acquaintances". After healing the Baron, Cagliostro asks him what he desires most of all, since money and power do not interest him. [75] Robert Chambers, in an 1863 almanac, cited the iconic 1792 illustration of the Baron by asking rhetorically: Who is there that has not, in his youth, enjoyed The Surprising Travels and Adventures of Baron Munchausen in Russia, the Caspian Sea, Iceland, Turkey, &c. a slim volume—all too short, indeed—illustrated by a formidable portrait of the baron in front, with his broad-sword laid over his shoulder, and several deep gashes on his manly countenance? [96] Pearl's popularity gradually declined between 1933 and 1937, though he attempted to revive the Baron character several times before ending his last radio series in 1951. [82] Shortly after, in 1901, Bangs published Mr. Munchausen, a collection of new Munchausen stories, closely following the style and humor of the original tales. On the Turkish front, Potemkin lights a cannon while the Baron sits astride it. [114][115][116] In the Soviet Union, Soyuzmultfilm released a 16-minute stop-motion animation Adventures of Baron Munchausen in 1967, directed by Anatoly Karanovich. [16], In his native German language, Raspe wrote a collection of anecdotes inspired by Münchhausen's tales, calling the collection "M-h-s-nsche Geschichten" ("M-h-s-n Stories"). Hippler, who was instated as Reichsfilmdramaturg in 1939 by Goebbels, shared his view that all artistic disciplines, including film, should be "co-ordinated" to echo the propaganda themes that the regime chose to highlight, following the policy of Gleichschaltung.
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