Rainbow press reporter Ludo is sentenced to 8 months, but is released on probation. But he has to work 300 hours for a local daycare center and meets Anna who has unfinished business with him.

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Cast

Cast overview, first billed only:
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Miriam
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Jürgen Vogel
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Chefredakteur
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Wolfgang Stumph ...
Fieser Taxifahrer
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Typ
Barbara Rudnik ...
Lilli
Zora Holt ...
Kellnerin
Gregor Bloéb ...
Michi Nußbaumer
Nina Proll ...
Daniela Berg
...
Anwalt
Sonsee Neu ...
Richterin
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Storyline

Gossip-columnist Ludo finds himself sentenced to three-hundred hours of community service after he literally crashes a private celebrity party. The work is at a children's day-centre and while the job's fine it is his bad luck that the person in charge is a woman whom he used to play endless practical jokes on when they were at school; she hasn't forgotten and is prepared to use her new-found power to get her own back. She finds however that, like the children, she's warming to him. If only the court injunction had stopped his womanising too. Written by Jeremy Perkins {J-26}

Plot Summary | Plot Synopsis

Taglines:

Man sieht sich immer zweimal... (You always meet up twice...)

Genres:

Comedy | Romance

Certificate:

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Parents Guide:

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Details

Official Sites:

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Language:

Release Date:

20 December 2007 (Germany)  »

Also Known As:

300 ore per innamorarsi  »

Filming Locations:

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Box Office

Budget:

€4,500,000 (estimated)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The scenes with Nora Tschirner and Jürgen Vogel on the red carpet at the German Film Awards were shot during the actual red carpet ceremony in 2007. See more »

Goofs

At the end of the movie Ludo asks the waiting taxi drivers for a special service. When he rides with the last cab next to the others in the next scene, the first two drivers have changed their waiting positions. See more »

Quotes

Anna Gutslowsky: Jeder Affe haette das besser hinbekommen!
Ludo Dekker: Ja, wenn er Holländisch kann.
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Connections

References Gute Zeiten, schlechte Zeiten (1992) See more »

Soundtracks

Der Zauberlehrling
Lyrics by Johann Wolfgang von Goethe
Composed by Nicola Casper
Performed by Junge Dichter und Denker
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User Reviews

 
Overly familiar romantic comedy that trades on European sensibilities for a distinctively American atmosphere
21 November 2008 | by See all my reviews

In writer-director-star Til Schweiger's second directorial outing, "Rabbit Without Ears" (following a semi-refreshing "Barefoot"), he plays yet another hedonistic Teutonic cad spun round by an unlikely, socially awkward girl. It's an overly familiar romantic comedy that trades on European sensibilities for a distinctively American atmosphere.

Just as in "Barefoot" (a love story of a self-involved cad and a depressively sweet escapee from a psych hospital with an aversion to footwear), Schweiger uses the same sort of emotional modulation – with a touch of transparent manipulation and a fair amount of feel-good montages – to present its apparent mainstream appeal of the adorable differences between men and women. You could transplant everything here from a Frankfurt to New York setting while a Matthew McConaughey could easily play Schweiger's dapper hunk and a Sandra Bullock could slot in as his female co-star Nora Tschirner – the latter being a dead ringer for the Hollywood star.

So what's a rabbit without ears but just another flaw to be overcome? Schweiger plays Ludo, a paparazzi reporter who sees his work and women as one venture. Till, he messes up and gets 300 hours of community service at a local day-care facility run by an ex-classmate, the frumpily attractive Anna (played by Tschirner) who still harbours an improbable resentment of Ludo and his teasing over 20 years ago.

But what's even more dubious is how easily these set-ups and facades drop to accommodate the inevitability of its central pairing. Ludo finds his redemption being surrounded by enamoured toddlers while Anna falls deeply into a void of self-esteem, which is to say into the arms of the obliviously receptive Ludo. It could just as readily be named "Men Are Dogs and the Women Who Love Them".

Schweiger lazily allows the strings to be seen. There are scenes so ludicrously over the top and undeveloped that questions about the writing and editing have to be raised. Characters cease to act like they were written and anachronistic scenes mar emotional pay-offs that could have been promising given the film's punchy performances and frequently wry dialogue.

Sex is fundamental to these upwardly mobile Germans, but the utter puerility of sex-faces and loud restaurant reveals aside, the understated view on sexual politics is particularly lurid. The strongly defined angular features of Schweiger augments an ability to convey quick nods of sympathetic posturing – an incredibly useful tool that belies Ludo's selfish actions and blurs the perception beyond acceptable behaviour and the resulting consequences of its main pairing. Schweiger needs to rediscover the sweet emotionality of his previous film and disregard the rank superficiality of this film.


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