Menschen am Sonntag (1930)

Directors:

Curt Siodmak
Robert Siodmak

Writers:

Curt Siodmak (writer)
Robert Siodmak (source material)

Release Date:

4 February 1930 (Germany)

Genre:

Documentary | Drama | Romance

Plot:

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

Cast

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)
rest of cast listed alphabetically:
Kurt Gerron	...	Himself
Valeska Gert	...	Herself
Heinrich Gretler	...	Himself
Ernö Verebes	...	Himself

Also Known As:

People on Sunday

Runtime:

74 min

Country:

Germany

Color:

Black and White

Aspect Ratio:

1.20 : 1

Sound Mix:

Silent

Filming Locations:

Berlin, Germany

Company:

Filmstudio Berlin

Trivia:

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.

Movie Connections:

Featured in "Cinema Europe: The Other Hollywood" (1995)

People on Sunday, classic on show

If you enjoy classic silent cinema then you won't want to miss this treat. At times scenes are reminiscent of King Vidor's The Crowd, made just the year before (most especially in those moments set indoors, during which one of the couples gently bicker or the scene during which the principals first meet up for their group date); while at others the open air, carefree mood is suggestive of Renoir's masterpiece Partie de Campagne, made a decade later. But People on Sunday is a distinct work in its own right, an evocative film made by some stellar talent: the Siodmak brothers, Edgar Ulmer, Billy Wilder and Fred Zimmerman - all of whom would go on to varying degrees of success in the States after fleeing the Nazis. Their film is thus both a record of a time lost, a beautifully shot piece showing a Berlin that was soon to vanish for ever, as well as demonstrating the collaborative talents of some major figures in their early years. There is no hint of the dark years to come seen here, or the debilitating effects of run away inflation which marked the end of the Weimar Republic and led to the inexorable rise of extreme politics. People on Sunday is above such explicit social comment, unless it is political by the mere fact of focusing on ordinary people. It simply tells the tale of a group (played by non professional actors we are informed, but it hard to tell such is the quality of the performances) enjoying themselves while out on one sunny weekend day, picnicking, boating, kissing, promising more to each other and so on, interspersed with more general shots of the German people similarly at play. The skill and pleasure for the viewer today is in the way this is done, completely without ostentation, shot marvelously, everything still feeling fresh, spontaneous and genuine , and with a real feeling for place. Ironically, for this viewer at least, so much of the film seems so natural and fluid that one is more aware that is an illusion; such unforced art as this takes a great deal of time, patience and skill on the part of the participants and creators.

If you want to see more of German cinema from this period, other than more familiar classics, then this is a real treat, being both less known and marvelously restored. The BFI DVD version has been created from several sources and is the longest version available. It also features a splendid Weill-like score, which fits the milieu like a glove and which begs issuing separately as it stands up well as a listen on its own.