I liked the beginning and the experiment of doing a terribly hollywood melo on a bunch of german soldier stuck on the russian front in WW2 was Bunuelesque enough to attract me. Then the whole love story weighs it down to a see how much more clever than the character you are ending. Meh, the first 15 minutes are pretty gold.
He looks like he's crying. That'll be his eyeballs melting. He certainly told it like it was. Really powerful, the moments of despair from random people really hit home the total pointlessness of war. The haves, and the havn't got a thing, the person in the shadows waiting to dob you in. And love. Tragic.
Wow, what a powerful film. Disguised as a melodrama this deeply political masterpiece has you rooting for the German soldier home from the Russian front. The fact that it is a Hollywood film and not a modern indie makes it all the more remarkable. At times the message isn't subtle but the film makes you think of the characters as people who do good and those who do bad rather than by their nationality. A great watch.
Sirk's work here is absolutely masterful, even though he's saddled with a rather bland lead actor. The way he orchestrates such sweeping, epic set-pieces in the service of such an intimate story is thrilling to behold, and his handling of tone shifts seamlessly from horror to humour to melancholy romance. Deserves to be better known.
Déjà vu sur le petit écran, mais le souvenir m'est revenu tard. Un regard intéressant sur les désastres et les ironies de la guerre. Qu'est-ce qui peut naitre dans un champ de ruines ? Un excellent traitement de la couleur et de l'image, un bon rythme narratif, et une fin rageante. Il faut ce qu'il faut.
Ja, so sah man sich gerne als Deutscher oder Österreicher in den Fünfzigern: Melodram und Geworfen sein in den Krieg. Das erklärt auch den Erfolg des Romans und des Films. Ein Kind seiner Zeit, aber in der zeitlichen Distanz allzu deutlich: die Entlastung des Einzelnen von der Verantwortung für das Verbrechen des Nationalsozialismus. Hier greift der Film zu kurz, um dem Schrecklichen tatsächlich gerecht zu werden.
Every sweet love scene is punctured by sirens of bombs – right at the moment where they feel too luxurious, taking too much space in this Holocaust world. There’s also a lot of humor in this film, which in a way seem more enduring than the always temporary happiness, and which gives it a quiet sense of absurdity. And the use of mirrors is devastatingly touching, even though I can’t explain why.
The opening contains some of the most striking negative imagery I've ever seen in an Old Hollywood film, and the concept is pretty damn bold for 1958. Not on the level of Sirk's best films (Written on the Wind, Imitation of Life), but a good indicator that his interests reached far beyond the American upper class.
Cinematography by Russell Metty. "Desire" list: an actor of few resources but with a face and physicality of great virtues, John Gavin found in Sirk his two major roles, being this one the most prominent by the fact that he's one of the film protagonists. Perhaps melodrama require lower actors to pass its currents of improbability, assuming therefore the physicality that propels and justify it.