| 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 | |
Directed by | |||
| Curt Siodmak | (as Kurt Siodmak) | ||
| Robert Siodmak | |||
| Edgar G. Ulmer | |||
| Fred Zinnemann | |||
| Rochus Gliese | (uncredited) | ||
Writing credits(in alphabetical order) | ||
| Curt Siodmak | ||
| Robert Siodmak | source material | |
| Edgar G. Ulmer | ||
| Billy Wilder | ||
Produced by | |||
| Seymour Nebenzal | .... | producer | |
| Edgar G. Ulmer | .... | producer | |
Original Music by | |||
| Elena Kaets-Chernin | (2000) | ||
| Otto Stenzeel | |||
Cinematography by | |||
| Eugen Schüfftan | |||
Art Direction by | |||
| Moritz Seder | |||
Camera and Electrical Department | |||
| Ernst Kunstmann | .... | assistant camera | |
| Moritz Seeler | .... | lighting technician | |
| Fred Zinnemann | .... | cinematography assistance | |
Music Department | |||
| Frank Strobel | .... | conductor (2000) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb Germany section |
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.