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Der verlorene Sohn (1934)

6.8
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Ratings: 6.8/10 from 100 users  
Reviews: 1 user | 2 critic

Story of the trials and tribulations of a German who emigrates to the US during the Great Depression.

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Title: Der verlorene Sohn (1934)

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Cast

Cast overview, first billed only:
...
Tonio Feuersinger
Maria Andergast ...
Barbl Gudauner
Bertl Schultes ...
Barbls Vater (Barbl's father)
...
Miß Lilian Williams
F.W. Schröder-Schrom ...
Mr. Williams
Jimmie Fox ...
Hobby
Paul Henckels ...
Lehrer (schoolteacher)
Eduard Köck ...
Tonios Vater (Tonio's father)
Melanie Horeschowsky ...
Rosina Unverdorben
Emmerich Albert ...
Holzfäller (woodcutter)
Hans Jamnig ...
Holzfäller (woodcutter)
Luis Gerold ...
Holzfäller (woodcutter)
Lore Schuetzendorf ...
Rauhnacht maiden
Lucie Euler ...
Wirtin (landlady)
Borwin Walth ...
Butler
Edit

Storyline

Story of the trials and tribulations of a German who emigrates to the US during the Great Depression.

Plot Summary | Add Synopsis

Plot Keywords:

based on novel | See All (1) »

Genres:

Drama

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Details

Country:

|

Language:

|

Release Date:

11 December 1935 (Portugal)  »

Also Known As:

The Prodigal Son  »

Filming Locations:

 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Sound Mix:

(Tobis-Klangfilm)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Immediately after WW2, the film was banned in the western part of Germany by the US military government because it was considered to be "anti-American". In the eastern part of Germany the film was banned by the Soviet military government because it was considered to advertise for the US and the American way of life. See more »

Soundtracks

Rauhnachtslied
(Austrian Volksong)
See more »

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User Reviews

 
social documentary
15 April 2006 | by (Germany) – See all my reviews

Although the acting and dialogue are not much, this film does offer an interesting reflection on life in the 1930s. The scenes of Tonio walking around New York give an impressive picture of New York from its good and bad sides. The city has a more realistic feel to it than you can find in many American films of the time. Peculiar too is the fascinating mixture of Christian and pagan ritual in the Dolomite town. The pagan festivities have a rawness to them that one no longer experiences in the processions and celebrations of modern-day German speaking areas. As the film was made in 1934, there is obviously some propaganda involved, but it is nevertheless a unique documentation of the time.


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