This chapter deals with Harlan’s willingness to accept artistically inferior assignments only because they allow him to work outside Germany. Large parts of Die blaue Stunde (The blue hour, 1953) are shot in Italy; apart from that, the film is remarkable for portraying marriage problems in a humorous manner. A two-part adventure, Sterne über Colombo (Stars over Colombo, 1953) and Die Gefangene des Maharadscha (Prisoner of the maharaja, 1954), is shot in India and again deals with marriage problems as well as a tortured father–son relationship, the kind Harlan himself experienced with his father. Finally, the spy thriller Verrat an Deutschland (Betrayal of Germany, 1955), shot in Japan, is Harlan’s reflection about his own guilt in Nazi Germany and Söderbaum’s complicity in it. He gets bad reviews for all four films, but the Indian films are successful at the box office. His sympathetic treatment of Communists in Verrat an Deutschland leads to the last thing he wants after his comeback: a political controversy.
Keywords: father–son conflict, India, location shooting, marriage problems, political controversy, pro-Communist, spy thriller, Die blaue Stunde, Sterne über Colombo, Die Gefangene des Maharadscha, Verrat an Deutschland
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