Schwarzer Kies

A 1961 German film which was presented on Noir Alley which qualifies for being a neo-noir. It's post war Germany & the residents are trying to make ends meet while under the scrutiny of the American armed forces still stationed there. Our anti-hero, Helmut Wildt, is met making his rounds driving a truck which carries the occasional black market item but one day he runs into a military man & his wife, Ingmar Zeisberg, stranded by the side of the road & offers them a ride into town for help. He recognizes Zeisberg as an old flame & they reunite awkwardly but her new life & his current one is at odds w/them actually making any headway. They do eventually hook up & one night while they're driving in his truck unbeknownst to them a pair of lovers, who Wildt knows, end up being run over by his truck which prompts Wildt to take care of the situation while he tries to keep Zeisberg out of it. What follows is chapter & verse of what we've come to expect from noir but here done exceedingly well w/Wildt being championed by the audience, no matter how rotten he seems, to succeed but we know that's not the case even though according to host Eddie Muller even German audiences felt the ending was too bleak for them which says a lot.

(1961) Black Gravel/ Schwarzer Kies (In German with English subtitles) CRIME DRAMA

Co-written and directed by Helmut Käutner that has gravel dump truck driver, Robert Neidhardt taking advantage of a situation slipping out and stealing some gravel after a dog had been killed. But before he throws the lifeless dog to be buried by the gravel itself, he would then steal it's collar while the crowd are paying attention to the fight between one of the workers and the soldiers. And while driving along the empty gravel road, he would then notice a major, John Gaines (Hans Cossy) and his wife stranded in the middle of the road and he decides to stop. And it was not until he stepped into the major's car Robert sees someone he recognizes, and she happened to be an old flame, Inge Gaines (Ingmar Zeisberg). And for the price of 10 dollars during Robert was towing the major's car back to the base of Sohnen, the rope breaks out, and they both agree Inge would ride with Robert back into town and call for a toll truck/ mechanic. And during their conversation, she then informs him she is looking for her dog to which it just happens to be the same one that was killed at the opening. Except that he has plans to use the dog's collar as a ruse to meeting her again as they had a history together before she met her current husband as he has a girlfriend, Elli (Anita Höfer) he does not care too much about. Robert is also friends with Sgt Bill Rodgers (Peter Nestler) and his girlfriend Anni Peel (Edeltraut Elsner) are going to cross paths again under unfortunate circumstances with a guy named Eric Moeller (Heinrich Trimbur). And another guy, Otto Krahne (Wolfgang Büttner) who was a part of his racket but has decided to move to Canada.

While watching this reminded me of another movie called "Night and the City" starring Richard Widmark when the center person, Robert gets himself into trouble and digs himself into a bigger hole.

For a movie such as this I think I prefer the much more ambiguous ending that was intended than the one the director had intended if according to Eddie Mueller is correct. The gravel itself could have been symbolic and metaphor since viewers are not clear where a particular two people had been buried other than the dog.

While I disagree with Eddie Muller's opinion, voiced on TCM's Noir Alley, that this 1961 German film is a masterpiece...the American characters, played by Germans, are too stiff/caricatured, for one thing, and the key scene where Bill/Anni are killed is badly edited, for another...I do think it's a very good late era noir. It does what all fine entries in this darkest of genres must do, namely create a believable moral hellscape. In this case it is West Germany in the uneasy period when WW2 was still very much alive in the hearts/minds of the defeated Germans and relations with the victors is fraught, to say the least. The key visual symbols of this tense, fearful and more than occasionally violent mood are the gravel pit/burial ground and the divey bar/brothel where ceremonies of moral corruption, from stealing to anti Semitism to murder, are enacted. And through these images the tawdry, bleak, lost atmosphere is powerfully conveyed by director Helmut Kautner. Indeed, too powerfully for the German censors of the time who preferred a more "uplifting" vision of their country in the Kennedy 60s (think Elvis in "GI Blues") and thus falsely accused the film of hostility toward Jews (it is, actually, quite the opposite) and ostracized Kautner from film making . Hard to feel too sorry for the guy who, after all, worked steadily in Germany under the Nazis, but certainly not difficult to feel exasperation at the willful misunderstanding from the cultural establishment. B plus.

Helmut Wildt works on the regrading of the road leading to the US Air Force, transporting gravel. He also steals some of it and sells it on the black market. The US officer in charge of the work, Hans Cossy, is married to Ingmar Zeisberg, a former lover of Wildt's; she claims to prefer her new, settled life, but she keeps returning to Wildt's side. When they are out driving in his dump truck, he runs into a young couple, killing them. They wind up under the road's gravel. But a investigation puts pressure on the two. Will Fraulein Zeisberg's faltering remorse overcome Wildt's implacable nihilism?

Helmut Käutner's dark tale of Germany's lingering, evil underside is a tough watch, what with survivals of fascist archetypes, old men with blue numbers tattooed on tir wrist, and a hunger for something solid and real. It was denounced, edited to remove social commentary, and given a lighter ending. The original cut was restored in the 2010s.

In post-war Germany, in a dreary small town near a US air force base, some of the local truckers hired by the Americans to supply the base with gravel and other construction supplies have a side job in the black market. Trucker Robert, underplayed to anti-hero perfection by Helmut Wildt, lives in a room above a brothel-bar in town and has an emotionless relationship with one of the B-girls (Anita Hofer) who has a yen for him. One day he spots an old flame(Ingmar Zeisberg), now married to an American officer running the base, and attempts to relight their fire in secret, a decision that leads to a tragic accident. It's all downhill after that.

It's downbeat, but one of the most compelling dramas about post-war Europe I've ever seen. It was cut to remove an anti-Semitic outburst by a bar drunk but restored in 2009. The tech credits and all of the performers, from the main actors to the extras, are excellent. It hasn't been shown on Noir Alley--it should-- but Eddie has programmed it at several festivals. Directed and co-written by Helmut Kautner, it was not the kind of commercial film the West German studios were producing in the late 1950s and 1960s.