Glückskinder (1936)


Lillian Harvey returned to her adopted country of Germany to star in the comedy-with-music Glueckskinder (Children of Fortune). Harvey plays Ann Garden, an unemployed actress who ends up in night court on a loitering charge. Here she meets Gil Taylor, a struggling songwriter temporarily employed as a court reporter. Hoping to keep her out of jail, Gil impulsively tells the judge that he’s engaged to Ann — whereupon the judge, equally impulsively, marries the couple on the spot! After this inauspicious start, Ann and Gil embark upon a rocky (but tuneful) whirlwind romance.

Director: Paul Martin.
Stars: Lilian Harvey, Willy Fritsch, Paul Kemp, Oskar Sima, Fred Goebel, Erich Kestin, Otto Stoeckel, Paul Bildt, Albert Florath, Thomas Cziruchin, Max Hiller.


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  1. simon shwimer
    September 15, 2018

    JON thank you very much for Glukskinder it is interesting movie compared to IT HAPPENED ONE NIGHT 1934 the first movie to shack the OSCAR tree and win 5 academy awards for best movie director actor actress and adopted script .this film was very popular in Nazi Germany and since the Nazis wanted the people to ignore Hollywood films since they were produced by Jews and had all kind of Jewish ideas they decided to make a better version of Hollywood movies and musicals (Hollywood movies continued to play in NAZI Germany till 1940 when WB produced a film called a confession of a Nazi spy with EDWARD .G ROBINSON as result of hitting/killing WB film distributer in GERMANY

  2. Steve Burstein
    December 12, 2018

    GLUCKSKINDER underwent a major critical rediscovery in Germany in 1974, when it was shown as part of a Lilian Harvey retrospective. Critics and audiences were excited over finding a German film that was “the lightest and most American film ever to come from a German studio”. They also wrote that GLUCKSKINDER was proof that the German film industry during the Nazi era operated independently of the Government and Reichspropaganda Minister Goebbels. But this was wishful thinking. No movie could be produced in Nazi Germany without approval from Goebbels, who probably combed all scripts for anything he felt censor-able or ideologically unfit. Films like GLUCKSKINDER fit into Goebbels master plan of making audiences believe they were getting mere entertainment, not “Bread and Circuses” distraction.

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