| Joachim Hansen | ... | Oberleutnant Wisse | |
| Ernst Wilhelm Borchert | ... | Gen. Friedrich Paulus (as Wilhelm Borchert) | |
| Wolfgang Preiss | ... | Major Linkmann | |
| Carl Lange | ... | General von Seydlitz | |
| Horst Frank | ... | Feldwebel Böse | |
| Peter Carsten | ... | Gefreiter Krämer | |
| Richard Münch | ... | Oberstleutnant Kesselbach | |
| Günter Pfitzmann | ... | Wachtmeister Kunowski | |
| Sonja Ziemann | ... | Katja | |
| Gunnar Möller | ... | Leutnant Fuhrmann | |
| Ernst von Klipstein | ... | Ein General | |
| Armin Dahlen | ... | Major Stanescu | |
| Paul Hoffmann | ... | General Codreanu | |
| Karl John | ... | Generaloberst Hoth | |
| Alexander Kerst | ... | Kriegspfarrer Busch | |
| rest of cast listed alphabetically: | |||
| Jöns Andersson | ... | Stabschef | |
| Klaus Behrendt | |||
| Wolfgang Büttner | |||
| Josef Fröhlich | |||
| Klaus Hellmold | |||
| Tatjana Iwanow | |||
| Reinhard Kolldehoff | |||
| Peter Lehmbrock | |||
| Peter Lühr | |||
| Karl Meixner | |||
| Hans Paetsch | ... | Biologe | |
| Heinz Plate | |||
| Gotthart Portloff | |||
| Joachim Rake | |||
| Friedrich Schütter | ... | Hoths Befehlsempfänger | |
| Günther Ungeheuer | |||
| Erik von Loewis | |||
| Hermann Göring | ... | Himself (archive footage) (uncredited) | |
| Adolf Hitler | ... | Himself (archive footage) (uncredited) | |
| Dieter Neckritz | ... | Mann (uncredited) | |
Directed by | |||
| Frank Wisbar | |||
Writing credits(in alphabetical order) | ||
| Frank Dimen | writer | |
| Heinz Schröter | writer | |
| Frank Wisbar | writer | |
| Fritz Wöss | novel | |
Produced by | |||
| Otto Meissner | .... | executive producer | |
| Alf Teichs | .... | producer | |
Original Music by | |||
| Herbert Windt | |||
Cinematography by | |||
| Helmut Ashley | |||
Film Editing by | |||
| Martha Dübber | |||
Art Direction by | |||
| Walter Haag | |||
| Hans Kutzner | |||
| Wilhelm Vierhaus | |||
Costume Design by | |||
| Irms Pauli | |||
Makeup Department | |||
| Heinrich Weber | .... | makeup artist | |
| Walter Wegener | .... | makeup artist | |
Production Management | |||
| Thomas Fantl | .... | unit manager | |
| Georg Mohr | .... | unit manager | |
| Hans Thilo Theilen | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Carl Otto Bartning | .... | assistant director | |
| Alexander von Richthofen | .... | second assistant director | |
Art Department | |||
| Rudolf Dahlke | .... | props | |
| Waldemar Hinrichs | .... | props | |
Sound Department | |||
| Heinz Martin | .... | sound | |
Camera and Electrical Department | |||
| Dieter Graf | .... | assistant camera | |
| Wolfgang Hofmann | .... | assistant camera | |
| Franz Xaver Lederle | .... | camera operator | |
| Peter Michael Michaelis | .... | still photographer | |
Editorial Department | |||
| Ursula Reinfurth | .... | assistant editor | |
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| Cross of Iron | Defiance | The Dirty Dozen | The Life and Death of Colonel Blimp | The McKenzie Break |
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| Full cast and crew | Company credits | News articles |
| IMDb War section | IMDb West Germany section |
This unfairly obscure early German World War II movie has a lot going for it. For one, it has a solid cast with a lot of recognizable German actors who went on to be in a lot of international productions (namely Preiss and Frank) and put in some solid performances here as soldiers trapped in a hopeless battle.
There's a solid share of action with everything on display from the Romanian units crumbling under tank assault to General Hoth's attempt at relieving the pocket to the bitter street fighting up to the end. Actually the street fighting comes off even better than in STALINGRAD and ENEMY AT THE GATES and feels quite authentic and realistic despite the low budget. Maybe it's because a good share of the actors in the film actually served in the war? I assume the producers were able to find a section of a German city still devastated from the war some 14 years later or else it's some very good set design. Either way I'm impressed. Amazingly, they even managed to round up some real hardware with at least two real T-34's and a PAK anti tank gun for the battle scenes.
The film takes the ingenious step of using authentic stock footage to supplement the battle scenes as was possible only back when films were black and white. This trick also worked well in ITALIANI BRAVA GENTE which also managed to often call into doubt whether the combat footage was original or stock.
The only main detractor is a lot of mismatched stock footage often from entirely different battles (including some now-famous shots of the retreat from Moscow) and during different times of the year (winter to summer and back again). The film tries to play it off by making it look like snow doesn't hit until after the Russians cut off Stalingrad, but anyone with a basic knowledge of WW2 history should know better. Also the tanks are off, with T34/85's appearing too early in the war as usual and a rare case where an IS2 briefly subs in for a German tank of some sort. Mostly minor nitpicks considering that the film's budget was so low. It's amazing what they were able to pull off with such scant resources.