La deputata Phoebe Frost si reca nella Berlino postbellica per indagare sulle voci secondo cui un ufficiale americano starebbe proteggendo la cantante Erika von Schlütow, ex amante di un gerarca nazista, ma si innamora del capitano Pringle, senza sapere che è proprio l’amante della cantante.
Questo film non è attualmente in programmazione su MUBI, ma 30 altri fantastici film sì. Scopri cosa c'è in cartellone
Wilder scores again. There's a wonderful contrast between the glamour of Dietrich and the girl next door of Arthur. It's a difficult choice to make, but Lund, doing his best Gable impression, is helped along the way. Dietrich sings her songs in what can only be called her inimitable style.
One of the better Wilder films in terms of wit, sharpness, and the shameless portrayal of the morals of Berlin. Lund is utterly unforgettable, though, and Dietrich wavers somewhere between forced and natural.
Outstanding, on par with anything else that Wilder directed. The script from Brackett-Wilder is sarcastic, witty, and surprising to have made it past censors. John Lund is often cited as the weak link in the cast, but I enjoy his uncomfortable balancing to try and stay out of trouble. A great film, one of the first shot in postwar Germany, and one that deserves a higher placement in Wilder's body of work.
Notable for being one of the first Hollywood films to shoot on location in Berlin Post-WW2, it often feels like two films fighting for the same space; one being a light hearted romcom and the other being a more serious exploration of Germany's post-war aftermath and surviving in it. It is not so successful at combining the two. That being said it features a roster of great Hollywood talent and its very well shot.
Great match of an experienced filmmaker and what you can really call a star. Wilder provides as usual a lots of good lines and Dietrich shines in particular in the amazing songs she performs like no other. The heavy comedy of the first hour is a bit outrageous and dated but when the film finds its groove, it becomes suddenly special. The footages of post-war Berlin and the illegal atmosphere is also a big plus.
I don't believe the romcom Americanised way has a place in Berlin post WWII. There's too much hurt, too much sadness in those destroyed buildings, destroyed lives for such a cliché. Although it's meant to be funny I also didn't like the depiction of German women as silly girls who'd do anything for a candy bar. Or of American women as this salt of the earth, girl next door. Marlene is the undeniable light of the show
The film belongs to Marlene Dietrich. Period. And the songs she sings. Otherwise the film is a dud. The film often reminds you of the first major Dietrich vehicle--The Blue Angel. But then, Wilder is no match to von Sternberg.