Irgendwo in Berlin.txt
"Irgendwo in Berlin"
(1946)
http://www.imdb.com/title/tt0038646/
DVD9 PAL
1:1
Audio: German
Subs: None
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5 out of 5 people found the following comment useful:-
PRECISE AND SUBTLE, 10 September 1999
Author: jan onderwater from Amsterdam, The Netherlands
Until the dramatic events concerning the boy Willy only the rubble and ruins of Berlin are used as background; the drama round Willy is a sign for the community and for the children not to look back again. From that moment Lamprcht mainly uses the parts of Berlin that were not bombed as background; this is a very strong dramatic turning point in the meaning of the image. Note how in this part the petty thief - played superbly by Fritz Rasp (and repeating his role from "Emil und die Detektive"; again the link with that film) - is the only character still seen walking about in the ruins.
The fine cinematography has an almost documentary style, except in the dramatic scene with the boy Willy. In that scene the cinematography has a very different style and certainly the lightning is very different as is the style of mise-en-scene: I had the image of the room (after the boys have entered) freeze-framed for closer study: the scene is composed as a romantic/religious painting, a bit too sentimental maybe. But, as such the complete scene is very well done.
Again Lamprecht shows that he was a master in directing children (children always played an important part in his movies). Complete cast is fine, with Paul Bildt brilliant as the black marketer. The script is well-written with psychologically well-thought out characters, although the way it shows how the father is treated after his return (scene: giving back the stolen wallet) is too simple. I do not agree with remarks in the literature on this film that there are too many sub-plots: the cumulation of these plots make the film into the precise observation of the community.
The only real objection one might have is the last scene and within that scene the last shots: this is very close to making the labourer heroic. But never mind: the film is rewarding viewing and it is far better than Roberto Rosselini's "Germania Anno Zero" (1948) that deals heavily handed with the more or less same subject.
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