Directed by | |||
| Konrad Wolf | |||
Writing credits(in alphabetical order) | ||
| Karl-Georg Egel | ||
| Paul Wiens | ||
Original Music by | |||
| Joachim Werzlau | |||
Cinematography by | |||
| Werner Bergmann | |||
Film Editing by | |||
| Christa Wernicke | |||
Art Direction by | |||
| Karl Schneider | |||
Set Decoration by | |||
| Alfred Drosdek | |||
Costume Design by | |||
| Elli-Charlotte Löffler | |||
Makeup Department | |||
| Otto Banse | .... | makeup artist | |
Production Management | |||
| Hans-Joachim Schoeppe | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Michael Englberger | .... | assistant director | |
| Heinz Thiel | .... | assistant director | |
Art Department | |||
| Alfred Rehhausen | .... | property master: outdoor | |
Sound Department | |||
| Werner Klein | .... | sound | |
Special Effects by | |||
| Ernst Kunstmann | .... | optical effects | |
Camera and Electrical Department | |||
| Manfred Damm | .... | assistant camera | |
| Hans Heinrich | .... | camera operator | |
| Viktor Höhn | .... | lighting designer | |
| Herbert Kroiss | .... | still photographer | |
Music Department | |||
| Adolf Fritz Guhl | .... | orchestra director | |
| Klaus Meissner | .... | soloist: trumpet | |
Other crew | |||
| Willi Brückner | .... | script editor | |
| Hans-Joachim Funk | .... | location manager | |
| Tommy Mang | .... | subtitler: English (1999 version) | |
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| Genesung | Leute mit Flügeln | Professor Mamlock | The Naked Man in the Stadium | Mama, I'm Alive |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb East Germany section |
Keep in mind when viewing this film that it was actually produced and set for release in 1958, not '72. DEFA banned the film because of its content regarding uranium and the nuclear arms race. The film was made while this was a hot topic, but for international diplomacy reasons, the film was banned so as not to interfere with Warsaw negotiations. Taken as a 1958 film, and not a '70s film, it becomes much better for comparison to other Konrad Wolf films and serves as a much better example of national film within the GDR at the time. As an earlier Wolf film, then, the presence of anti-fascist ideas and propaganda for the socialist state is quite present. This type of content dropped off in later Wolf films.