| Marianne Sägebrecht | ... | Martha | |
| Michel Piccoli | ... | Ernst | |
| Klaus Grünberg | ... | Berthold | |
| Michael Kausch | ... | Werner | |
| Václav Chalupa | ... | Emil (young) | |
| rest of cast listed alphabetically: | |||
| Jana Altmanová | ... | Kamila | |
| Vladimír Brabec | |||
| Jana Brezinová | ... | Ida | |
| Michael Kocáb | ... | Hrubý | |
| Zuzana Kocúriková | |||
| Diana Mórová | |||
| Bozidara Turzonovová | ... | Rosa | |
| Sona Valentová | ... | Elsa | |
| Ondrej Vetchý | ... | Emil | |
| Bernhard Wicki | ... | Narrator (scenes deleted) | |
Directed by | |||
| Jirí Weiss | |||
Writing credits(in alphabetical order) | ||
| Jirí Weiss | ||
Produced by | |||
| Jan Kadlec | .... | executive producer | |
| Susanne Schläpfer | .... | executive producer | |
| Philippe Verro | .... | executive producer | |
Original Music by | |||
| Jirí Stivín | |||
Cinematography by | |||
| Viktor Ruzicka | |||
Film Editing by | |||
| Gisela Haller | |||
Casting by | |||
| Cornelia von Braun | |||
Production Design by | |||
| Karel Vacek | |||
Art Direction by | |||
| Martin Martinec | |||
Costume Design by | |||
| Maria Frankova | |||
Second Unit Director or Assistant Director | |||
| Tomas Zelenka | .... | second assistant director | |
Sound Department | |||
| Miloslav Hurka | .... | sound | |
Camera and Electrical Department | |||
| Jiri Gazda | .... | key grip | |
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| The Harmonists | St. Paul | Divided We Fall | The Ninth Day | Downfall |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb France section |
It has been years since I saw this film at the San Francisco Foreign Film Festival. It really leaves an impression; I highly recommend it. The plot spans years before and during the Holocaust. Through the eyes of his young nephew, we watch the plight of an initially successful Jewish doctor ("Uncle Ernst") living in Germany. While Ernst's plight is central to the story, it is mostly Martha, his housekeeper-become-wife, who draws you in--at least that's the impression I have after all these years. After the film, the face of this kindly, well-meaning woman haunted me for some time, and I can even picture it now: radiating joy during the warmer moments of the film, and piercing the viewer's own heart with sorrow at other moments.
Many films that take place during the Holocaust are somewhat predictable. That said, this one is rich and unique enough in plot that it stands out in my memory, but mostly thanks to the acting and poignancy of the story. I think the film's biggest strength is the attachment you form to Martha, an extremely sympathetic character whose devotion to her husband is so sincere, so touching, that it seems to erase all barriers for the human heart.