People on Sunday

Five non-professional actors star in this tale of a typical Sunday idyll in and around Berlin. We meet taxi driver Erwin Splettstober, wine salesman Wolfgang von Waltershausen, music store clerk Brigitte Borchert, film extra Christl Ehlers, and model Annie Schreyer, attractive young people who are looking to relax on a sunny Sunday. The first four travel out to the country for a frolic in and around a lake, during which romantic attachments are formed and lost. This is cut together with documentary footage of average German citizens enjoying their Sunday in various ways.

This hard-to-classify effort has a stellar line-up behind the scenes: Billy Wilder and Curt Siodmak worked on the screenplay, the direction was by Robert Siodmak and Edgar G. Ulmer, and an uncredited Fred Zinnemann worked on various aspects of the movie, as well. The cinematography, although primitive and obvious in its trickery (I'm thinking of the often reflected light creating a sun-dappled effect on the actors' faces), has a modernity and immediacy seldom seen in films of the time. I think my favorite sequence of the film was a montage of close-up faces, of all shapes and sizes, of people around the lake. Recommended.

Marvellous late German silent that anticipates the Italian neo-realists, although I note some claim that this is not realistic at all and may even be showing struggling Berlin through rose tinted glasses. I'm not sure; those fantastic city sequences seem real enough and perhaps the regularly intoned opinion that Hitler was lurking in the shadows of a dispirited people, is itself a little fanciful. In any event this is a great little film filled with fantastic shots, moving street shots of and from moving trams, poetic close-ups of the young folk and a great sense of landscape at the lakeside. As usual with me and silent movies, I seem to get captions I don't need because the action is so obvious and whole sequences of back and forth dialogue left untitled. But just to watch the imagery is good enough and the little trysts, arguments, upsets and loving looks need no titles at all.

Some of the people commenting on this movies mention the fact that it was made only three years before Hitler came to power. While this is true, it is a historical misunderstanding to think that in 1929, when the film was conceived and shot, Hitler was inevitably looming at the political horizon in Germany. In fact, in the Weimar republic of the late 20s there was good reason to believe, that the worst was over for Germany after the chaotic post-WWI-period. The economy had somewhat stabilized, the political circumstances were still chaotic, but I guess people had grown accustomed to the fact that the government changed every so often. Germany was not a democracy in the truest sense of the word, but there was a thriving lower-middle class, and that is what the people in the film are meant to represent. There was good reason to believe, that these people would be typical of Germany at this time. To think that the film makers were delusional about the true state of the German state is a judgement that comes out of knowing what happened later.

Thats what makes this film even more special in my thinking. It shows that there could have been potentially another Germany, and that fascism was not the inevitable consequence of the social condition in the early 30s, German national character or what so ever. In fact, I think thats why this master piece is not as well-known as it deserves to be. It does not fit the bill of 1920s Mabuse-style Germany, where Caligari was an early warning of the Nosferatu was the blue-print of a coming dictator etc, all this Kracauer stuff.

Having said that, I would like to point out two additional things about this film, that make it unique. First of all, with its on-location shot, its amateur actors and its next-to-nothing ,yet social realist story, it is a rare fore-runner of the post-war cinema of Italy etc, that has not acknowledged. (Then again, Rosselini et al never saw this film, but then again, where is the "neo" in "neo-realism" coming from.) It also seems to me that this might very likely be the first "indie" movie. "Indie" is of course a very vague term, and what is called "Independent cinema" differs greatly depending on where the critic is coming from. But I personally know of no other movie, that actually made it into the movie houses, that was produced by a handful of non-pros without the support of a studio. Of course, there are the surrealist films etc, but this was a reasonably successful film, not some art experiment. This is a very daring thesis, I know, but so far nobody was able to prove me wrong....

Extraordinary and very simple silent film, put together by some of the most remarkable talents of Twentieth Century Cinema - just read those credits! Within a few years most of these people were in Hollywood, and Hitler had destroyed both the wonderful film industry they had helped build and the joyous Berlin that this film depicts.

The film tells the story of four strangers, two men and two women, enjoying a lazy Sunday by a lake in Berlin. Nothing much seems to happen, but there is a lot going on, as the four interact. There is innocence, the potential for love, the danger of sex, the force of jealousy and the pain of longing. And through it all is the joy of living!

Magnificently shot - largely in extreme close-up - the film allows us a glimpse of Berlin between the wars and it is sad to watch it with the knowledge of what was soon to be. It would have been impossible to make this film with dialogue - the words would have destroyed the nuance and the emotion. It reveals the power of silent cinema.

If the print you see is without a soundtrack, as mine was, then may I recommend playing the Essential Marlene Dietrich during the film. I did this and the combination was unforgettable.

One of the surprising things about this film is the very acute, naturalistic and fundamentally humorous performances from an amateur cast, lacking all the usual strange, exaggerated mannerisms of silent cinema. The other impressive aspect of the film is the beauty of the photography, always playful and probing: the scene where an old man responds to the pompous nationalistic statues in the park is brilliant and affecting, if rather ambiguous. The modern score that was provided in the version I saw was effective and fitting: to be recommended. I agree that it all seems rather unreal, given that it takes place in 1929- yet it strikes me as not so much realistic, as naturalistic: perhaps striving to depict normality in difficult times. A very good and fundamentally humane film, lacking any real plot or suspense, but full of really interesting moments.