A working-class family in Berlin in 1931 where survival is difficult, with massive unemployment in the wake of the Great Depression. After Anni's brother commits suicide in despair, her ... See full summary »
Urged by famous airman Ellissen the Lennartz Company puts into reality the project proposed by his friend Droste: F.P.1, a huge floating platform in the Atlantic that makes long-distance ... See full summary »
A nightclub waiter and a manicurist share the same room, he sleeps there by night and she by day. They've never meet , but they can't stand each other. Then they meet by chance, not knowing... See full summary »
Käthe von Nagy,
While the politics of this movie certainly reflect the time, the script by Reisch and Wilder has a lot in it that goes beyond the usual Weimar/National Socialist transition films.
Forst is great as a self-involved cad who competes with his best friend Fritsch for the affection of Harvey's Jou-Jou (a showbiz wannabe whose last dime has been conned from her by a smooth-talker claiming to be a Hollywood big shot) The clever double entendre that one expects from Wilder is in the script as are some terrifically shot musical numbers.
One of the most innovative is a dream sequence that follows a train out of the city of Berlin under the Atlantic Ocean to NYC and across to Hollywood. The simplicity of a makeshift home in a boxcar is lampooned by a catchy number called "We Don't Pay Rent Anymore", and resonates for the Depression era. Then there is a wistful Lilian Harvey standard called "Somewhere on Earth" that also reflects the yearning for security and happiness that were prevalent during that globally unstable time.
All in all, this is a witty and enjoyable ribbing of hard times, big aspirations and love. The cast plays it to the hilt with remarkable chemistry from Forst, Fritsch and Hoerbiger. And, as she mostly always was, Lilian Harvey proves herself charming, lovely and one of the most compelling of the 30's film stars.
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