In the Post-World War II, the British Susanne Mallison travels to Berlin to visit her older brother Martin Mallison, a military that has married the German Bettina Mallison. The naive ... See full summary »
In the Post-World War II, the British Susanne Mallison travels to Berlin to visit her older brother Martin Mallison, a military that has married the German Bettina Mallison. The naive Susanne snoops on Bettina and suspects that she is hiding a secret from her brother. When Susanne meets Bettina with her friend Ivo Kern, he offers to show Berlin to her and they date. But Ivo meets the strange Halendar from the East Germany and Susanne takes a cab and return to her home alone. Then she dates Ivo again and he meets Olaf Kastner, who is a friend of Martin and Bettina. But soon Susanne, who has fallen in love with Ivo, learns that he was a former attorney married to Bettina but with a criminal past during the war. Now he is blackmailed by Halendar to kidnap Kastner and bring him back to the other side of the border. The plan fails and Halender asks his men to abduct Bettina to get Kastner. However, Susanne is kidnapped by mistake and is imprisoned in the basement of a house in East Berlin.... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
In East Berlin, there are many political posters with the name "Walter Ulbrich," but the East German Communist leader's name was actually spelled "Ulbricht." See more »
[Already starting to rub one of Susanne's feet]
Are your feet cold?
Yes, and my hands are cold. Your heart is the coldest of all.
I can warm your feet for you. It's a pity you can't do anything about my heart.
I could try.
Why should you bother?
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Vintage Reed with all the elements from his films of the period. The innocent (Bloom) whose view needs to be muddied. The world weary, complex hero/villain. The confusion and ambiguities veering between love and hate, trust and betrayal, weakness and strength. Humans pulled from their comfortable lives and twisted by circumstance. The worn surroundings of war torn Berlin an extra character in the plot. All this in typical stark angled Reed view, with an atmospheric signature tune used noticeably towards the end, and a scene sequence mirroring the ambiguities of the characters.
Whilst the film doesn't flow as fluently and seamlessly as The Third Man, Mason and Bloom create eminently watchable if not entirely rounded characters.
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