IMDb > Somewhere in Berlin (1946)

Somewhere in Berlin (1946) More at IMDbPro »Irgendwo in Berlin (original title)


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Release Date:
18 December 1946 (Germany) See more »
After WWII, Berlin lies in ruins. For Gustav, Willi and their friends the rubble provides an adventurous... See more » | Add synopsis »
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PRECISE AND SUBTLE See more (2 total) »


  (in credits order) (verified as complete)
Charles Brauer ... Gustav Iller (as Charles Knetschke)
Harry Hindemith ... Paul Iller
Hedda Sarnow ... Grete Iller
Fritz Rasp ... Waldemar Hunke
Gerhard Haselbach ... Hansotto Steidel

Hans Leibelt ... Herr Eckmann
Paul Bildt ... Herr Birke
Magdalene von Nußbaum ... Frau Schelp
Lili Schoenborn-Anspach ... Frau Timmel (as Lilli Schönborn)
Gaston Briese ... Herr Timmel
Lotte Loebinger ... Frau Steidel (as Lotte Löbinger)
Edda Meyer ... Lotte
Walter Bluhm ... Onkel Kalle
Hans Trinkaus ... Willi
Karl Hannemann ... Kriminalbeamter
Georg Kroning ... Arzt
Isolde Laugs ... Frau mit Einholtasche
Eduard Wenck ... Schneidermeister
Käthe Jöken-König ... Portierfrau
Hans Alexander ... Stotterer
Siegfried Utecht ... Kapitän
Walter Strasen ... Kommissar
Dieter Bauer ... Spitzmaus
Peter Marx ... Erster Verfolger
Franz Rohn ... Zweiter Verfolger

Directed by
Gerhard Lamprecht 
Writing credits
(in alphabetical order)
Gerhard Lamprecht 

Original Music by
Erich Einegg 
Cinematography by
Werner Krien 
Film Editing by
Lena Neumann 
Production Design by
Otto Erdmann 
Production Management
Georg Kiaup .... production manager
Sound Department
Fritz Schwarz .... sound
Camera and Electrical Department
Kurt Wunsch .... still photographer
Music Department
Erich Einegg .... musical director
Other crew
Korinna Stathakou .... subtitler: English (1999 video version)
Alan Wildblood .... subtitler: English (1999 video version)

Production CompaniesDistributors

Additional Details

Also Known As:
"Irgendwo in Berlin" - Germany (original title)
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East Germany:80 min | USA:77 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Filming Locations:


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11 out of 11 people found the following review useful.
PRECISE AND SUBTLE, 10 September 1999
Author: jan onderwater from Amsterdam, The Netherlands

In this third so-called "Trümmer"film director Gerhardt Lamprecht shows with his impeccable and subtle direction a study of a small labourer's community "somewhere in Berlin", one year after WW2. For this he made use of the main element of his 1931 "Emil und Die Detektive", namely a group of children around which the story is centered; this time these children are used as a hope for the future. This reference can be also so seen as a symbol for going further where Germany in 1933 stopped; as such it is interesting to see that no reference is made to the Nazi period other than the misery it has brought the community: there are no ex-nazis in the community.

Until the dramatic events concerning the boy Willy only the rubble and ruins of Berlin are used as background; the drama round Willy is a sign for the community and for the children not to look back again. From that moment Lamprcht mainly uses the parts of Berlin that were not bombed as background; this is a very strong dramatic turning point in the meaning of the image. Note how in this part the petty thief - played superbly by Fritz Rasp (and repeating his role from "Emil und die Detektive"; again the link with that film) - is the only character still seen walking about in the ruins.

The fine cinematography has an almost documentary style, except in the dramatic scene with the boy Willy. In that scene the cinematography has a very different style and certainly the lightning is very different as is the style of mise-en-scene: I had the image of the room (after the boys have entered) freeze-framed for closer study: the scene is composed as a romantic/religious painting, a bit too sentimental maybe. But, as such the complete scene is very well done.

Again Lamprecht shows that he was a master in directing children (children always played an important part in his movies). Complete cast is fine, with Paul Bildt brilliant as the black marketer. The script is well-written with psychologically well-thought out characters, although the way it shows how the father is treated after his return (scene: giving back the stolen wallet) is too simple. I do not agree with remarks in the literature on this film that there are too many sub-plots: the cumulation of these plots make the film into the precise observation of the community.

The only real objection one might have is the last scene and within that scene the last shots: this is very close to making the labourer heroic. But never mind: the film is rewarding viewing and it is far better than Roberto Rosselini's "Germania Anno Zero" (1948) that deals heavily handed with the more or less same subject.

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