Even allowing for the understandable reluctance of many to even acknowledge the existence of films made during The Third Reich, one is mystified as to why this little gem has been overlooked by true cinéphiles, especially as it holds the distinction of having been banned by the Nazi censors. Indeed, part of its fascination lies in what it was that offended Goebbels and Co.
It might be that the unshaven armpits of the gorgeous Winnie Markus as Christine were considered too earthy or that Eva Maria Meineke as her flighty friend Anni shockingly admits to her future husband that she might prove to be unfaithful. Herr Goebbels was renowned for his views on the sanctity of marriage despite being a notoriously unfaithful husband and a serial womaniser. The final straw could well have been the depiction of the unsympathetic Krummholz as a dictatorial little man with an Hitlerian moustache. Just a theory of course.
Thankfully the film saw the light of day in 1951 and has acquired non-American sub-titles along the way which is further consolation. It is sensitively directed by Peter Pewas and beautifully shot by Georg Krause, best known for his sweeping camerawork on 'Paths of Glory'. The performance of luminous Winnie Markus lingers longest with its irresistible combination of innocence and sensuality.
Although gratifying to be the first, let us hope this review will not be the last this enchanting film receives.
It might be that the unshaven armpits of the gorgeous Winnie Markus as Christine were considered too earthy or that Eva Maria Meineke as her flighty friend Anni shockingly admits to her future husband that she might prove to be unfaithful. Herr Goebbels was renowned for his views on the sanctity of marriage despite being a notoriously unfaithful husband and a serial womaniser. The final straw could well have been the depiction of the unsympathetic Krummholz as a dictatorial little man with an Hitlerian moustache. Just a theory of course.
Thankfully the film saw the light of day in 1951 and has acquired non-American sub-titles along the way which is further consolation. It is sensitively directed by Peter Pewas and beautifully shot by Georg Krause, best known for his sweeping camerawork on 'Paths of Glory'. The performance of luminous Winnie Markus lingers longest with its irresistible combination of innocence and sensuality.
Although gratifying to be the first, let us hope this review will not be the last this enchanting film receives.
