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Rosemaries Tochter (1976)

Annemarie's mother, the well-known noble prostitute Rosemarie Nitribitt, was found murdered nearly twenty years ago.


Rolf Thiele




Cast overview, first billed only:
Lillian Müller ... Annemarie Nitribitt
Bela Ernyey Bela Ernyey ... John (as Bela Erny)
Werner Pochath ... Horst
Hanne Wieder Hanne Wieder ... Hanne
Tamara Lund Tamara Lund ... Lena
Herbert Fux ... Vokurka
Silvia Simon ... Karin
Jo Herbst Jo Herbst ... Joe
Karl Schönböck ... Hans Winkler
Walter Ullrich Walter Ullrich ... CDU-Mitglied
Tilo von Berlepsch Tilo von Berlepsch ... Fürst
Paul Friedrichs Paul Friedrichs
Ernst Lothar Ernst Lothar ... SPD-Mitglied
Gerd Rigauer Gerd Rigauer ... FDP-Mitglied
Georg-Simon Schiller Georg-Simon Schiller ... CSU-Mitglied


Annemarie's mother, the well-known noble prostitute Rosemarie Nitribitt, was found murdered nearly twenty years ago.

Plot Summary | Add Synopsis






West Germany



Release Date:

19 November 1976 (West Germany) See more »

Also Known As:

Jet-set per Rosemaries Tochter See more »

Company Credits

Production Co:

Roxy Films See more »
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Technical Specs

Sound Mix:



Color (Eastmancolor)
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Did You Know?


References Rosemary (1958) See more »

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User Reviews

Satire without satire
31 August 2005 | by SMK-4See all my reviews

Rolf Thiele's swan song is a film like a lazy teenager hanging around in malls - it does not know what it wants to be. There are signs of satirical ambitions, holding hedonistic 1970s upper class German society a mirror in its ugly face, but these aims are only pursued half-heartedly. We also find elements of farce, but the film fails to demonstrate the wit or the bite farces require. Hans Clarin provides the commentary in his famous funny voice, promising humour but barely creating a strained smile in the audience. Other hints point at drama, musical, sex film, but none of these styles is followed through.

The leading actress is pretty but neither a thespian nor someone who commands the screen. Considering the dramatic ambitions of the film this was a bit of a problem. As a result she comes across as a waste of space - a pretty waste of space, but a waste of space nevertheless.

But the worst part of the film are the musical numbers. They are very much in the tradition of German political cabaret. These kind of songs do not adapt very well to the cinema screen at all anyway, but Thiele (or whoever was responsible for them) aggravated the problem by using old-fashioned cabaret costumes and old-fashioned musical styles. The result is at odds with the rest of the contemporary setting of the film.

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