Menschen am Sonntag (1930)

Note Générale:

8,0/10   

Réalisateurs:

Curt Siodmak
Robert Siodmak

Scénaristes:

Curt Siodmak (writer)
Robert Siodmak (source material)

Date de sortie:

4 février 1930 (Allemagne)

Genre:

Documentaire | Drame | Romance

Intrigue:

Edwin, a taxi driver, lives with Annie, a neurasthenic model. They plan to spend Sunday at the Nikolassee beach with Wolfgang...

Plot Keywords:

Semi Documentary | Berlin Germany

Avis des utilisateurs:

Sunday in Berlin

Ensemble

Erwin Splettstößer	...	Himself (taxi driver)
Brigitte Borchert	...	Herself (record seller)
Wolfgang von Waltershausen	...	Himself (wine seller)
Christl Ehlers	...	Herself (an extra in films)
Annie Schreyer	...	Herself (model)
reste de la distribution par ordre alphabétique:
Kurt Gerron	...	Himself
Valeska Gert	...	Herself
Heinrich Gretler	...	Himself
Ernö Verebes	...	Himself

Autre(s) titre(s):

People on Sunday

Durée:

74 min

Pays:

Allemagne

Couleur:

Noir et Blanc

Rapport de forme:

1,20 : 1

Son:

Silent

Lieux de tournage:

Berlin, Germany

Société:

Filmstudio Berlin

Anecdotes:

The film was a major hit when it was released in Germany in 1930. Five of the people who worked on the film who went on to direct films in Hollywood: Curt Siodmak, his brother Robert Siodmak, Edgar G. Ulmer, Fred Zinnemann and Billy Wilder.

Connexions:

Référencé sur Sunny Side Up (1994)

Sunday in Berlin

On a Sunday, four young befriended people make an excursion to the lake Wannsee in Berlin to spend their free time in the sun with boat trips, bathing and flirting.

This low budget production demands to remain at the surface of everyday life and to show certain scenes, coincidences and trivialities of it. It is mostly interested in the details and shows the other side of the hectic, restless Berlin - the peace of a summerly Sunday. Here, the people are removed from the daily rush, and it is discernible how the makers agree with their protagonists. They celebrate the self-confidence of the young generation - which is not yet overshadowed by the big crisis at the beginning of the 1930s - and demonstrate the physical joy of life, the carefreeness and playfulness. The other side of this urban way of life is, which apparently only banks on superficialness and the momentary, promiscuity and the wounds coming from this, the harshness and the cold of changing feelings. It's cynically depicted in one long tracking shot over tree-tops (indicating symbolically sexual intercourse) that ends at a pile of thoughtlessly ditched trash.