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.
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 30 minute radio adaptation of the movie on March 6, 1949 with Marlene Dietrich and John Lund 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 »
Erika von Schluetow:
We've all become animals with exactly one instinct left. Self-preservation. Now take me, Miss Frost. Bombed out a dozen times, everything caved in and pulled out from under me. My country, my possessions, my beliefs... yet somehow I kept going. Months and months in air raid shelters, crammed in with five thousand other people. I kept going. What do you think it was like to be a woman in this town when the Russians first swept in? I kept going.
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Congresswoman Frost (Jean Arthur) comes to occupied Berlin to investigate the moral decay' of US troops but falls in love with Captain Pringle (John Lund), who is having an affair with nightclub singer von Schlütow (Marlene Dietrich), who in turn is the ex-moll of a Nazi big wig.
Which filmmaker alive today would have the guts, the clout and the talent to make this dark a satire on the rebuilding of Iraq'? Only three years after World War II, here is a movie that mercilessly punches holes through all illusions about patriotism, militarism or the nobility of the American cause. Nobody is spared in Billy Wilder's vision: the soldiers, the politicians, the Germans, they all claim to be working for the great cause of building a New Germany, while at the same time ruthlessly pursuing their own self-interests (self-interests, more often than not, having to do with getting laid). Wilder's very own brand of romanticism and sharp wit keep this movie from getting too grim and his cynical, played-for-laughs version of Germany Year Zero may well be more honest and grounded in reality than the misery-fest of Roberto look at me caring for these poor victims' Rosselini.
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