People on Sunday

1930 [GERMAN]

Action / Comedy / Drama / Romance

14
Rotten Tomatoes Critics - Rotten 76% · 9 reviews
Rotten Tomatoes Audience - Upright 76% · 250 ratings
IMDb Rating 7.2/10 10 3908 3.9K

weekend friendship berlin, germany farewell beach countryside

Plot summary

A semi-documentary experimental 1930 German silent film created by amateurs with a small budget. With authentic scenes of the metropolis city of Berlin, it's the first film from the later famous screenwriters/directors Billy Wilder and Fred Zinnemann.

720p.BluRay 1080p.BluRay
680.25 MB
968*720
German 2.0
NR
Subtitles de  
29.97 fps
1 hr 14 min
Seeds ...
1.23 GB
1440*1072
German 2.0
NR
Subtitles de  
29.97 fps
1 hr 14 min
Seeds 6

Movie Reviews

Reviewed by lasttimeisaw 7 / 10

a bracing urban symphony of Berlin during the interwar times

A German silent curio heralds several future magnates of the film industry in Hollywood, PEOPLE ON Sunday is the debut feature for both its directors Robert Siodmak and Edgar G. Ulmer, with a script from a tender-age Billy Wilder and Fred Zinnemann in the camera branch. It is a bracing urban symphony of Berlin during the interwar times, confining its time-frame within a weekend, convenes a cast of five non-professional young actors (who are essentially playing themselves) and blithely breaking the boundary of studio lot and taking the story onto the streets of the metropolis, from a rush-hour Behnhof Zoo train station near the beginning to the movie's main course, a Sunday outing in Wannasee. The quintet are Erwin, a taxi driver, his model wife Annie, and his friend Wolfgang, a wine dealer, then Christl, a film extra Wolfgang accosts in the said train station and Brigitte, her friend, who works in a record shop. Throughout its simple plot structure, the narrative heartily proceeds with a bifurcating stratagem, a plump, honest-looking Erwin's squabble-plagued marital life with a languorous Annie in their pokey bedsit, contrasting with a louche Wolfgang's pat oscillation in wooing either Christl or Brigitte, furthermore, a tangible rift is wondrously evinced between the two flappers, Christl is the prim and proper type, who naturally spurns Wolfgang's advances in the well-orchestrated lake-swimming sequences, but when she notices that Wolfgang takes his offensive towards a more skittish Brigitte and the two become lovey-dovey, she can barely contain her pique, not only to Wolfgang, but also to her girlfriend. Yet, what leaves the most piquant tang is a thoroughgoing embodiment of machismo by the two male creatures, Erwin is the off-limits married man, both girls give him a decent berth, humbled by a comparatively more good-looking and athletic Wolfgang, he knows his role very well, a sausage juggler for laughter, a cavalier company, completely forgets about Annie's absence when there are new girls around, but also seemingly attests that, when sex is off the table, girls are just girls, no further communication is worth his effort. Wolfgang is more or less more readable, cops a feel whenever he can find a chance but will not get his feet wet into a stable relationship, and if a girl becomes too pushy, there is always a Sunday football match he can attend with his buddy Erwin. A lilting juvenilia robustly interpolates expressionistic portraiture and vignettes (there are some very impressive close-ups both in still and in motion should be attributed to the young but ingenious film crew) in all the larking and perambulating, PEOPLE ON Sunday can still turn heads not just as a chirpy comedy, but also, a counter-time escapist prose because unfortunately we cannot blot out the fact that something egregiously sinister was incubating in that touchy era and that particular country.
Reviewed by AlsExGal 8 / 10

German precursor to Italian neo-realism

Five non-professional actors star in this tale of a typical Sunday idyll in and around Berlin. We meet taxi driver Erwin Splettstober, wine salesman Wolfgang von Waltershausen, music store clerk Brigitte Borchert, film extra Christl Ehlers, and model Annie Schreyer, attractive young people who are looking to relax on a sunny Sunday. The first four travel out to the country for a frolic in and around a lake, during which romantic attachments are formed and lost. This is cut together with documentary footage of average German citizens enjoying their Sunday in various ways.This hard-to-classify effort has a stellar line-up behind the scenes: Billy Wilder and Curt Siodmak worked on the screenplay, the direction was by Robert Siodmak and Edgar G. Ulmer, and an uncredited Fred Zinnemann worked on various aspects of the movie, as well. The cinematography, although primitive and obvious in its trickery (I'm thinking of the often reflected light creating a sun-dappled effect on the actors' faces), has a modernity and immediacy seldom seen in films of the time. I think my favorite sequence of the film was a montage of close-up faces, of all shapes and sizes, of people around the lake. Recommended.
Read more IMDb reviews

1 Comments

Be the first to leave a comment