The mechanic Behnke wants to join the Nazi party to secure a good living. However, after his Jewish neighbors have been taken away, he changes his views. Trying to remain "a non-political ... See full summary »

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Cast

Credited cast:
Paul Esser ...
Irene Korb ...
Karl Heinz Deickert ...
Hellmuth Behnke
Reinhold Bernt ...
Kurt Blank
...
Rudi Wille
...
Udo Schulze
Brigitte Krause ...
Inge
Rest of cast listed alphabetically:
Siegfried Andrich ...
SS-Mann
Helmut Bautzmann ...
Arbeiter
Rudi Beil ...
MG-Schütze
Walther Diehl ...
Arbeiter
Hans Emons ...
Arbeiter
Gerd Ewert ...
Adjutant
Kitty Franke ...
Flüchtlingsfrau
Helmut Hain ...
Luftschutzhelfer
Edit

Storyline

The mechanic Behnke wants to join the Nazi party to secure a good living. However, after his Jewish neighbors have been taken away, he changes his views. Trying to remain "a non-political man," he withdraws from reality and becomes a Nazis laborer. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama | History

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Release Date:

9 February 1950 (Austria)  »

Also Known As:

Az erőszak árnyékában  »

Filming Locations:

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Technical Specs

Sound Mix:

Aspect Ratio:

1.37 : 1
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User Reviews

 
LIfe of an apolitical mechanic in Germany, 1925-1945
14 August 2016 | by (United States) – See all my reviews

"Rotation" (1949) takes us into the life of an apolitical working man (Paul Esser) during the era in Germany when the Nazis came to power, ruled and lost the war. The story holds our attention throughout. We see the effects of unemployment on Esser, his wife (Irene Korb) and young son. He is urged to resist Nazi promises and participation by his brother-in-law, leftist Reinhold Bernt. A friend, Reinhard Kolldehoff, goes wholeheartedly for the Nazi program. Esser stays apolitical and neutral, refusing to say "Heil Hitler". The Party has a lock on jobs and through a system of local cells seeks to get everyone behind its slogans, hero-worship and program. Esser cannot get a decent job without knuckling under. Bernt is forced to flee to Prague, but later returns, seeking Esser's help in printing anti-war pamphlets. Esser's son, Karl Heinz Deickert, is being indoctrinated in the Hitler Jugend by Werner Peters. (Both he and Kolldehoff look quite young and slim in this movie.) This is an interesting and well-done film, giving us realistic drama. It explores apoliticism, the endurance of family and love through thick and thin, the pervasive control of totalitarianism and the possibility of breaking the cycle of war and fascism.

The film has some spectacle, mainly the flooding of the subway occupied by many Berlin refugees seeking shelter, and some war footage. It has some memorable scenes, including Deickert's realization of Nazi pretense, seeing that Peters had no desire to risk his skin for Nazi ideology. Irene Korb adds a great deal to humanize the story. I'd rate this 3/4 or 7.5/10 if I could, which is right where IMDb viewers currently have it.


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