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Lost Daughter (1948)
"Portrait from Life" (original title)

6.3
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Ratings: 6.3/10 from 33 users  
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A British army officer becomes fascinated by the portrait of a young woman. He travels to Germany to find her only to discover that she is suffering from amnesia.

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Title: Lost Daughter (1948)

Lost Daughter (1948) on IMDb 6.3/10

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Cast

Cast overview, first billed only:
...
Lidia aka Hildegarde
...
Campbell Reid
...
Major Lawrence
...
Fritz Kottler Hendlemann
Patrick Holt ...
Ferguson
Arnold Marlé ...
Professor Franz Menzel
Sybille Binder ...
Eitel Hendlmann
Thora Hird ...
Mrs. Skinner
Gerard Heinz ...
Heine
Yvonne Owen ...
Helen
Ernest Thesiger ...
Bloomfield (scenes deleted)
John Blythe ...
Johnnie
Philo Hauser ...
Hans Ackermann
George Thorpe ...
Brigadier
Cyril Chamberlain ...
Supervisor
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Storyline

A British army officer becomes fascinated by the portrait of a young woman. He travels to Germany to find her only to discover that she is suffering from amnesia. Written by Steve Crook <steve@brainstorm.co.uk>

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

31 January 1949 (Sweden)  »

Also Known As:

Lost Daughter  »

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Technical Specs

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Aspect Ratio:

1.37 : 1
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The film debut of Athony Steel. See more »

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User Reviews

A snapshot of the time.
24 January 1999 | by (Melbourne, Australia) – See all my reviews

What drew me to this film was its focus on the lives of some inmates of the Displaced People's Camps in Post WW2 Europe. Its depiction, though considerably cleaned up for the consumption of the movie-going public, illustrates some of the key elements in DP camp life. The plot focusses on the attempts of a British Officer in Occupied Germany to help an amnesiac Concentration Camp inmate regain her memory. Unknown to all, a wanted Nazi war criminal is using her amnesia and the names of an exterminated Jewish family to escape Justice.

Typical for British dramas of the period, though not as excruciating as some, there is plenty of "British reserve" in Guy Rolfe's role. The consistently understated (or absent) emotion is a bit difficult for today's audiences. Also "Hildegaard", the amnesiac, seems to fall in love at the drop of a hat which, given her circumstances, I found to be quite neurotic. I'm not sure that this would have been the intention of the director.

The film's street scenes also give some fleeting insights into London's appearance in the late '40's.

On the whole I'd say it would be a worthwhile film to catch if you had a particular interest in the period.


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