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Zwischen gestern und morgen (1947)

 |  Drama, Romance, War  |  30 May 1949 (Sweden)
7.1
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Ratings: 7.1/10 from 96 users  
Reviews: 3 user | 1 critic

A group of people gathers back in the post-war ruins of a luxurious Munich hotel they inhabited at one point or another years before; each trying to cope with the tragic consequences of the war and their own actions.

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Cast

Cast overview, first billed only:
...
Das Mädchen Kat
...
Annette Rodenwald
...
Nelly Dreifuss
Willy Birgel ...
Alexander Corty
Viktor de Kowa ...
Michael Rott
Viktor Staal ...
Rolf Ebeling
Carsta Löck ...
Frau Gertie
Adolf Gondrell ...
Dr. Weber
Walter Kiaulehn ...
Intendant Kesser
Erich Ponto ...
Professor von Walther
Erhard Siedel ...
Herr Hummel
...
Ministerialdirektor Trunk
Alfons Kiechle
Rudolf Vogel
Axel Scholtz
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Storyline

A group of people gathers back in the post-war ruins of a luxurious Munich hotel they inhabited at one point or another years before; each trying to cope with the tragic consequences of the war and their own actions.

Plot Summary | Add Synopsis

Genres:

Drama | Romance | War

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Details

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Language:

Release Date:

30 May 1949 (Sweden)  »

Also Known As:

Between Yesterday and Tomorrow  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Sybille Schmitz, who was accused of consorting with the Nazis, ironically here portrays a Jewish woman victimized by the gestapo. See more »

Goofs

When Nelly is escorted by the Gestapo from her hotel room, a boom microphone briefly appears from behind the doorway. See more »

Connections

Referenced in Christmas Eve '45 (2012) See more »

Soundtracks

Sag's heute und sag's morgen
Music by Werner Eisbrenner
Lyrics by Bruno Balz
See more »

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User Reviews

Germany's first and last neo-realistic movie

When I picked it up from my TV program, I was betting only on Viktor De Kowa, one of the few German actors who managed to stay away from Hitler's iron fist and entertained us at the end of WWII with musicals like WIR MACHEN MUSIK. To my great surprise, I watched a pretty good picture, beginning first in the Rossellini style of neo-realism, but soon moving in different directions,always steering clear from cheap or bombastic allusions. De Kowa, Knef and Birgel were perfect in their parts. I fully support Shezan1's comments, drawn probably also from TV watching. The Germans great cinema is no more, but thanks to TV we are discovering every day that they still excel in making attracting series, such as INSPECTOR DERRICK. The French are more clever, they draw money from the crowds who go to see American movies, and beef up their own movie industry. harry carasso, Paris


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