Warning; the following post is for those who, like me, watched the "Yes, we have no bananas" scene in One, Two, Three and wondered what they were singing on the other side of Berlin.
I don't have a lot to say about these clips from a movie called So liebt und küsst man in Tirol, a German (West German) movie musical from 1961; I don't know if it's typical of the German film industry at the time, though the print looks surprisingly well-preserved. But here they are anyway. I came upon them while doing some Google-based research on René Kollo, a moderately successful German pop singer who used his earnings to take operatic voice lessons, and became a highly successful Wagnerian tenor in the '70s and '80s. And this appears to be one of the few movies he ever appeared in during his pop years, but he has two numbers in this film.
The first, which is more or less normal, is a heavily reverb'd pop song about how great love is, lip-synched by Kollo, playing the singing bartender.
The next one is Kollo performing his most successful record, a German-language cover of Ricky Nelson's "Hello Mary Lou." I don't know who the blonde dancer is, and having only read a brief plot synopsis, I don't know who the generic Sheiks are supposed to be. The director appears to lose all interest in Kollo midway through the number and devote himself to close-ups of the dancer and the guy ogling her.
And finally, weirdest of all, is the film's title song, performed by the star, Vivi Bach, sometimes known as "Die Dänische Bardot" (the Danish Bardot). (That might also be her dancing in the other clip, but I'm not sure and I'm not going to watch the whole movie to find out.) The song itself isn't weird, it's the frequent cutaways to guys in lederhosen slapping each other. I honestly wasn't aware this was done in a movie outside of the famous stock footage.
I'm not really intrigued enough to learn more about the West German movie musical in the early '60s, but if this was what it was like all the time, it's... actually, not that far from what I would have imagined, given the era's combination of Old German nostalgia and U.S. pop influence, like a combination of Franz Lehár and Pat Boone.
Anyway, here's the last clip I could find, from what was apparently the biggest name in the movie, singer Fred Bertelmann (a big name in West Germany, I mean; I can't find an English-language bio). He comes off as somewhat frightening.
Update: Thanks to "Jim," in comments, who has some great information about German movie musicals and performers, both the low-budget quickie musicals of the '50s and '60s and the more elaborate (and memorable) productions of the early sound era, like this elaborate production number of Lilian Harvey singing "Das Gibt's Nur Einmal". One thing I notice from that 1931 clip is that UFA already had developed the technique of post-synched musical numbers -- though the technique of lip-synching was not yet perfected -- whereas in U.S. musicals, they were still mostly shooting musical numbers with direct sound. Jim notes that a Hollywood musical would never have had such an elaborate tracking shot at the time, but that's because they hadn't yet figured out that you could shoot a whole musical number without sound (and therefore a freely-moving camera).