Director Billy Wilder salutes his idol, Ernst Lubitsch, with this comedy about a middle-aged playboy fascinated by the daughter of a private detective who has been hired to entrap him with the wife of a client.
A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to re-jump start his career, but the situation quickly escalates into an out-of-control circus.
Originally made with a German soundtrack for screening in occupied Germany and Austria, this film was the first documentary to show what the Allies found when they liberated the Nazi ... See full summary »
A congressional committee visits occupied Berlin to investigate G.I. morals. Congresswoman Phoebe Frost, appalled at widespread evidence of human frailty, hears rumors that cafe singer Erika, former mistress of a wanted war criminal, is "protected" by an American officer, and enlists Captain John Pringle to help her find him...not knowing that Pringle is Erika's lover. Written by
Rod Crawford <firstname.lastname@example.org>
"Screen Director's Playhouse" broadcast a 60 minute radio adaptation of the movie on March 1, 1951 with Marlene Dietrich and John Lund again reprising their film roles. See more »
Though the character played by Jean Arthur is an 'unmarried' American Congresswoman, the actress's real life wedding ring is visible in many scenes especially close-ups during the latter part of the film. See more »
For the two decades after World War II, there was a popular fascination involving films about or made in a reconstructed Europe. From The Search to The Great Escape, a genuine sense of authenticity maintained, sustained by writers, actors, and directors who had actually lived through the epoch. Most of them are now gone, not the least of which was one of the finest directors ever: Billy Wilder.
In this film, there are few stock caricatures once the viewer is able to get past certain allusions to contemporary popular culture (e.g. Who now remembers who "Gabriel Heatter" was?). Even the line "Is it subversive to kiss a Republican?" has a fresh ring to it. The writers must have been pleased with Wilder's usual fast-paced and witty visual turns accentuating their remarkable script.
Of course there is Marlene Dietrich the icon in effect playing herself as a postwar blue angel, and real Germans speaking real German where the story demanded it. Jean Arthur provides an able if somewhat overdrawn foil for La Dietrich, and has a little fun at it. In one scene, she coyly admits her first name is "Phoebe," which happens to be the name of a character she played years earlier in a western called Arizona (1940).
Wilder would revisit Berlin again in 1961 for the hilarious send-up One, Two, Three -- still a great favorite and indeed a classic film.
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