Text im Original: The New York Times'

'Felix'' was conceived, it seems, as a somewhat solemn stunt of a movie but turns out to be a surprisingly jolly entertainment.

The German film is the work of four women, each of whom wrote and directed one segment in the story of Felix, a charming bounder who feels wrongfully oppressed by the women he uses so casually.

''Felix'' will be shown at the New York Film Festival at 1 P.M. today and 7 P.M. tomorrow.

The film isn't exactly seamless, but Ulrich Tukur, who plays Felix, gives such a seamlessly funny performance that the movie has far more cohesion than might be expected. Mr. Tukur, an actor in the William Hurt style, creates a thoroughly plausible male chauvinist, the kind who has no trouble holding two contradictory ideas in his head at the same time.

Felix feels hemmed in by his relationship with Trudy, who is walking out on him as the movie begins. Then he is bereft as well as furious and humiliated. He believes Trudy is the only woman for him but feels she's being unreasonable in expecting him to be faithful.

In this, the film's initial segment, written and directed by Helma Sanders-Brahms, Felix paces his chicly underfurnished, white-walled flat, drinking from a bottle of whisky and talking on the telephone to Karen, a close friend of his and Trudy's. When he isn't suggesting that he and Karen get together, he's painting a picture of himself as an artist thwarted by middle-class sensibilities.

''I saw us as Jean-Paul Sartre and Simone de Beauvoir,'' he tells Karen, but Trudy was too conventional. Felix says he has nothing against bourgeois traditions, preferably at Christmas.

In the film's second segment, written and directed by Helke Sander, Felix is at the seashore. He tries to regain his self-esteem by picking up two very pretty young women who attempt to teach him the joys of sex without the usual physical contact. He fails miserably. Margarethe von Trotta wrote and directed the third segment, the film's best, in which Felix, wandering around town at loose ends, meets Eva (Eva Mattes), a woman despondently eating an ice cream cone. Eva turns to ice cream when she's depressed. Felix takes her to a soda shop. Having been abandoned by her lover, Eva swallows great gobs of ice cream as if they were Seconals.

Felix knows how she feels and suggests, very discreetly, that he might stand in for the lost lover. This is impossible for reasons that are clear when Eva's lover turns up. Miss Mattes and Mr. Tukur are a delight as two intelligent people who manage to make emotional contact without the obligatory sexual finale.

In the film's sweetly funny concluding sequence, written and directed by Christel Buschmann, Felix explores Hamburg at night. Involved in this adventure are a not-great Elvis Presley impersonator who is devoted to the entertainer's late, fat period, a very drunk barfly who attacks Felix for eating ''toxic waste'' (a hotdog) and a married couple whose free and easy ways shock the supposedly liberated Felix.

The pleasures of the film accumulate. ''Felix'' is finally so enjoyable that no one, without being told, would easily identify it as the work of four very different talents. OPPRESSED CHAUVINIST FELIX, directed and written by Christel Buschmann, Helke Sander, Helma Sanders-Brahms and Margarethe von Trotta; in German with English subtitles; cinematographers, Frank Bruhne, Mike Gast, Martin Gressmann and Franz Rath; edited by Jane Seitz; a Future Film Production. At Alice Tully Hall, as part of the 26th New York Film Festival. Running time: 95 minutes. This film has no rating. Felix . . . Ulrich Tukur Eva . . . Eva Mattes Susanne . . . Annette Uhlen Danuta . . . Danuta Lato Gabi . . . Gabriela Herz Luci . . . Barbara Auer