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Menschen am Sonntag

  • 1930
  • Not Rated
  • 1 घं 13 मि
IMDb रेटिंग
7.3/10
3.8 हज़ार
आपकी रेटिंग
Christl Ehlers in Menschen am Sonntag (1930)
Three Reasons Criterion Trailer for People On Sunday
trailer प्ले करें1:36
1 वीडियो
48 फ़ोटो
ComedyDramaRomance

अपनी भाषा में प्लॉट जोड़ेंTwo men and two women enjoy a pleasant Sunday at the beach amid the unending toil of the working week.Two men and two women enjoy a pleasant Sunday at the beach amid the unending toil of the working week.Two men and two women enjoy a pleasant Sunday at the beach amid the unending toil of the working week.

  • निर्देशक
    • Robert Siodmak
    • Edgar G. Ulmer
    • Rochus Gliese
  • लेखक
    • Billy Wilder
    • Curt Siodmak
    • Robert Siodmak
  • स्टार
    • Erwin Splettstößer
    • Brigitte Borchert
    • Wolfgang von Waltershausen
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.3/10
    3.8 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Robert Siodmak
      • Edgar G. Ulmer
      • Rochus Gliese
    • लेखक
      • Billy Wilder
      • Curt Siodmak
      • Robert Siodmak
    • स्टार
      • Erwin Splettstößer
      • Brigitte Borchert
      • Wolfgang von Waltershausen
    • 28यूज़र समीक्षाएं
    • 53आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • वीडियो1

    People On Sunday
    Trailer 1:36
    People On Sunday

    फ़ोटो47

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    + 42
    पोस्टर देखें

    टॉप कलाकार10

    बदलाव करें
    Erwin Splettstößer
    Erwin Splettstößer
    • Self - Taxi Driver
    Brigitte Borchert
    Brigitte Borchert
    • Self - Record Seller
    Wolfgang von Waltershausen
    Wolfgang von Waltershausen
    • Self - Wine Seller
    Christl Ehlers
    Christl Ehlers
    • Self - Extra in Films
    Annie Schreyer
    Annie Schreyer
    • Self - Model
    Kurt Gerron
    Kurt Gerron
    • Self
    • (बिना क्रेडिट के)
    Valeska Gert
    Valeska Gert
    • Self
    • (बिना क्रेडिट के)
    Heinrich Gretler
    • Self
    • (बिना क्रेडिट के)
    Moriz Seeler
    • Photo Subject at Beach
    • (बिना क्रेडिट के)
    Ernö Verebes
    Ernö Verebes
    • Self
    • (बिना क्रेडिट के)
    • निर्देशक
      • Robert Siodmak
      • Edgar G. Ulmer
      • Rochus Gliese
    • लेखक
      • Billy Wilder
      • Curt Siodmak
      • Robert Siodmak
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं28

    7.33.7K
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    फ़ीचर्ड समीक्षाएं

    7lasttimeisaw

    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.
    9neilhargraves

    beautifully shot, surprisingly modern performances

    One of the surprising things about this film is the very acute, naturalistic and fundamentally humorous performances from an amateur cast, lacking all the usual strange, exaggerated mannerisms of silent cinema. The other impressive aspect of the film is the beauty of the photography, always playful and probing: the scene where an old man responds to the pompous nationalistic statues in the park is brilliant and affecting, if rather ambiguous. The modern score that was provided in the version I saw was effective and fitting: to be recommended. I agree that it all seems rather unreal, given that it takes place in 1929- yet it strikes me as not so much realistic, as naturalistic: perhaps striving to depict normality in difficult times. A very good and fundamentally humane film, lacking any real plot or suspense, but full of really interesting moments.
    8FilmFlaneur

    People on Sunday, classic on show

    If you enjoy classic silent cinema then you won't want to miss this treat. At times scenes are reminiscent of King Vidor's The Crowd, made just the year before (most especially in those moments set indoors, during which one of the couples gently bicker or the scene during which the principals first meet up for their group date); while at others the open air, carefree mood is suggestive of Renoir's masterpiece Partie de Campagne, made a decade later. But People on Sunday is a distinct work in its own right, an evocative film made by some stellar talent: the Siodmak brothers, Edgar Ulmer, Billy Wilder and Fred Zimmerman - all of whom would go on to varying degrees of success in the States after fleeing the Nazis. Their film is thus both a record of a time lost, a beautifully shot piece showing a Berlin that was soon to vanish for ever, as well as demonstrating the collaborative talents of some major figures in their early years. There is no hint of the dark years to come seen here, or the debilitating effects of run away inflation which marked the end of the Weimar Republic and led to the inexorable rise of extreme politics. People on Sunday is above such explicit social comment, unless it is political by the mere fact of focusing on ordinary people. It simply tells the tale of a group (played by non professional actors we are informed, but it hard to tell such is the quality of the performances) enjoying themselves while out on one sunny weekend day, picnicking, boating, kissing, promising more to each other and so on, interspersed with more general shots of the German people similarly at play. The skill and pleasure for the viewer today is in the way this is done, completely without ostentation, shot marvelously, everything still feeling fresh, spontaneous and genuine , and with a real feeling for place. Ironically, for this viewer at least, so much of the film seems so natural and fluid that one is more aware that is an illusion; such unforced art as this takes a great deal of time, patience and skill on the part of the participants and creators.

    If you want to see more of German cinema from this period, other than more familiar classics, then this is a real treat, being both less known and marvelously restored. The BFI DVD version has been created from several sources and is the longest version available. It also features a splendid Weill-like score, which fits the milieu like a glove and which begs issuing separately as it stands up well as a listen on its own.
    dbdumonteil

    Die Glückliche Jahre

    In France ,Marcel Carné released his first film ,a short ,at about the same time:it was called "Nogent ou l'Eldorado du Dimanche" and it depicted the Parisians' life ,leaving the city for the banks of the Marne river ,spending a wonderful sunny day,then waiting for the next Sunday...

    Carné's work was only a short (15 min) whereas Siodmak/Ulmer's film is about one hour and a quarter long.But the subject is the same.The main difference lies in the fact that,being much longer,the script writers could introduce characters .As an user has already pointed out,its games of love and jealousy in the sun ,the picnic and the pedal boat predate Jean Renoir's "Une Partie de Campagne" by six years.But Maupassant's short story was then and "Menschen am Sonntag" is now.Its documentary side is absorbing and should appeal to historians.

    With "Menschen" ,a great director,too often forgotten or overlooked,Siodmak was born.Almost everything the man directed -not only the mind-boggling film noirs of the forties but the French ones ("Mister Flow" "Mollenard" "Pièges" ) and the German ones (this one,"Stürme der Leidenschaft" "Brennendes Geheimnis") as well- demands to be watched.
    10David-240

    What Hitler destroyed! An effortless depiction of the joy of life.

    Extraordinary and very simple silent film, put together by some of the most remarkable talents of Twentieth Century Cinema - just read those credits! Within a few years most of these people were in Hollywood, and Hitler had destroyed both the wonderful film industry they had helped build and the joyous Berlin that this film depicts.

    The film tells the story of four strangers, two men and two women, enjoying a lazy Sunday by a lake in Berlin. Nothing much seems to happen, but there is a lot going on, as the four interact. There is innocence, the potential for love, the danger of sex, the force of jealousy and the pain of longing. And through it all is the joy of living!

    Magnificently shot - largely in extreme close-up - the film allows us a glimpse of Berlin between the wars and it is sad to watch it with the knowledge of what was soon to be. It would have been impossible to make this film with dialogue - the words would have destroyed the nuance and the emotion. It reveals the power of silent cinema.

    If the print you see is without a soundtrack, as mine was, then may I recommend playing the Essential Marlene Dietrich during the film. I did this and the combination was unforgettable.

    इस तरह के और

    Berlin - Die Sinfonie der Großstadt
    7.6
    Berlin - Die Sinfonie der Großstadt
    This Side of the Law
    6.5
    This Side of the Law
    The Fool Killer
    6.8
    The Fool Killer
    Delinquent Daughters
    3.3
    Delinquent Daughters
    Lucky Star
    7.6
    Lucky Star
    Asphalt
    7.4
    Asphalt
    Arrivano i titani
    6.0
    Arrivano i titani
    One Is a Lonely Number
    6.1
    One Is a Lonely Number
    Hot Rod
    5.8
    Hot Rod
    We Were Dancing
    6.1
    We Were Dancing
    As the Earth Turns
    6.2
    As the Earth Turns
    Beggars of Life
    7.4
    Beggars of Life

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      The film was a major hit when it was released in Germany in 1930. Five of the people who worked on the film went on to direct films in Hollywood: Curt Siodmak, his brother Robert Siodmak, Edgar G. Ulmer, Fred Zinnemann, and Billy Wilder.
    • गूफ़
      When the movie star picture cards are torn off the wall, the number of cards still on the wall constantly changes. Sometimes more cards are still on the wall than in the shot before, etc.
    • कनेक्शन
      Featured in Histoire(s) du cinéma: Toutes les histoires (1988)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल12

    • How long is People on Sunday?Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 4 फ़रवरी 1930 (जर्मनी)
    • कंट्री ऑफ़ ओरिजिन
      • जर्मनी
    • भाषाएं
      • नोने
      • जर्मन
    • इस रूप में भी जाना जाता है
      • People on Sunday
    • फ़िल्माने की जगहें
      • Strandbad Wannsee, Zehlendorf, बर्लिन, जर्मनी
    • उत्पादन कंपनियां
      • Film Studio 1929
      • Filmstudio Berlin
    • IMDbPro पर और कंपनी क्रेडिट देखें

    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      1 घंटा 13 मिनट
    • रंग
      • Black and White
    • ध्वनि मिश्रण
      • Silent
    • पक्ष अनुपात
      • 1.20 : 1

    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Christl Ehlers in Menschen am Sonntag (1930)
    टॉप गैप
    By what name was Menschen am Sonntag (1930) officially released in India in English?
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    • योगदान करने के बारे में और जानें
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