Ich zähle täglich meine Sorgen

Rosemary is under pressure from her father to marry a businessman she barely knows, so she decides to leave America and return to Europe to escape that arrangement. On the voyage she and a man named Peter meet while each is using a false name, and a casual companionship slowly turns into something warmer. Mistaken identities and small deceptions lead to a string of humorous situations, as secrets, social expectations and personal desires tangle. The story keeps its focus on the growing affection between the two protagonists, avoiding big shocks or dramatic reversals, and leaving the resolution to the unfolding of their mutual discoveries.

The film was released in 1960, directed by Paul Martin and scripted by Curth Flatow, Eckart Hachfeld and Herbert B. Fredersdorf. Peter Alexander stars as Peter Hollmann, joined by Ingeborg Schöner, Gunther Philipp, Loni Heuser and Christiane Konig, giving it a cast familiar to German audiences of the era.

There are no widely reported major awards or high-profile nominations associated with this picture, and it does not appear on typical international prize lists. It wasn’t a contender at the Oscars or similar festivals, and it’s generally absent from retrospective award discussions about postwar German cinema.

Though not widely remembered today, the movie captures the light, actor-driven comedies popular in West Germany around 1960. Peter Alexander’s presence links it to the era’s musical and romantic entertainment, and the film serves as a useful example for viewers interested in period style, star persona and the social codes of midcentury European light cinema.

Modern reception is modest, reflected by a small number of contemporary votes that average 4.5 out of 10. Viewers often note its clean, uncomplicated humor and themes of mistaken identity, social expectation and romantic choice, so it mostly appeals to fans of nostalgic, star-led romantic comedies rather than general audiences seeking fresh twists.