A Mundana

Though the plot of A Foreign Affair is lightweight and has seen service in many other movies (wholesome woman and sexy woman pursuing the same man; man pretends to fall for woman and then really does), the backdrop is deadly serious, compelling, and unusual. We are in the American Zone of Berlin after the war, a sector that, with the British and French zones, would soon become West Berlin, a magnet for many who would struggle to escape to this tiny outpost of the West in what would become Communist East Germany, many of them dying in the attempt. The Berlin Wall would be built to separate West from East Berlin. The Germans in the movie have had their world destroyed, don't know what is going on in the present, and can only wait with helpless terror for the future.

Though we are shown houses pulverised by Allied bombing and people living amongst the ruins, there is a lighthearted aspect to it all--the usual wartime stuff of GI's trading chocolate or stockings for kisses from pretty girls. In reality, however, it was more likely that they would be traded for sex from women desperate to feed themselves and their children, by soldiers reveling in a power they never had in civilian life and oblivious to the disgust and humiliation of the women. Marlene Dietrich says that, when the Russian troops invaded Berlin, "it was hard for the women." That's the understatement of the century! The Russians raped, and gang-raped, any women they could find--women died from being literally raped to death. It is understandable that Billy Wilder did not want to make the milieu too bleak in order to dampen the comedy, but keep in mind that matters were far more brutal and squalid than portrayed here.

It is a rather dark joke that Dietrich is cast in the role of a German woman who has had Nazi lovers and still feels loyal to Hitler. In fact, Dietrich became an American citizen in 1939 and extensively toured US military bases, sometimes at great danger, to entertain the troops. This aroused rage in Germany, and even decades after the war, as the result of protests by locals who called her a traitor, the government backed down and did not name a street in her honour. Can you beat that! An amusing footnote: When Dietrich tries her wiles on an officer, he says, Don't be silly, I've just become a grandfather. I don't know whether this was coincidence or intentional, but at the time the movie was made, Dietrich became a grandmother--an event that gave her a label that was very popular, but which she hated, "world's most glamorous grandmother."

This is one of Billy Wilder's least known films...and one of his best. A brilliant, cynical comedy about post-war Berlin goings on...black market, Army officers having affairs with notorious ex-Nazis, etc.

It stars Marlene Dietrich (one of her all-time best performances), and amazing Jean Arthur (in one of her final films), and newcomer John Lund, who was rather wooden in later performances...here, he's terrific.

Songs and musical score by Frederick Hollander...who's actually present playing piano. The three songs Dietrich sings, "Black Market", "Illusions" and "Ruins of Berlin" are lyrically integral to the plot and represent three of best songs written for a non-musical film of the late 1940's.

There's some serious plot points underneath the cynical comedy.

Wish to heck Universal would open their vaults and release it on DVD in the US; thankfully it's available in the UK (get an all-region DVD player...I did!).

It's an absolutely essential late 1940's comedy and in my opinion, one of Billy Wilder's best comedies.

Remember....Wilder's next film was "Sunset Boulevard".

This is one of those comedies that will always exist in the stratosphere of wit, intelligence and truth. It pulls no punches about politics, greed, hypocrisy & opportunism and treats its audience like grown-ups. It is as applicable to today's congress and the situation in Iraq as it was to post-WWII Germany (to which today's politicians still make frequent comparisons). It also was the first film to unflinchingly capture the effects of the WWII devastation of Berlin.

And what a cast! Jean Arthur, surely one of the greatest of all Hollywood comediennes, Marlene Dietrich in a part to match her Lola Lola in Blue Angel, John Lund a great under-utilized actor with the wit and ruggedness of Clark Gable and Millard Mitchell, one of those character actors whose mold was sadly broken decades ago.

In my book this film ranks with Double Indemnity as the best work of Billy Wilder and Charles Brackett.

Great songs by the legendary Frederick Hollander who actually appears here as Dietrich's accompanist.

The main impression left by "A Foreign Affair" is Billy Wilder's nobility toward German people. With authentic magnanimity, he chooses to represent Germans as a pitiful people struggling to survive, not a cruel enemy to hate. The movie has an intrinsic historical interest, since it was filmed in 1948 Berlin, completely destroyed by bombs. As usual in Wilder's works, the plot is beautifully constructed, the dialogue is witty and funny, irony, sarcasm and anti-rhetoric are spread along the movie. In the opening scenes we see army captain John Lund at the black-market, selling a cake, hand-made by his American sweetheart and coming from the States, to buy a gift for his Berliner lover Marlene Dietrich. By the way, Dietrich and most Berliner women seem to be on the verge of prostitution, just to get primary goods to survive in post-war disaster. Lund meets Jean Arthur, a US congresswoman committed in hunting nazi war criminals. As a matter of fact, we follow Lund's attempts to destroy evidence of Dietrich's nazi past: a behavior by the captain not exactly patriotic, nor ethic. The finale is deeper than it appears at a first sight: brutal tyranny, based on terror and slaughter, is doomed to be annihilated, buried under the rubble; pretty girls remain, helping us to spend our life on this unhappy earth.

Why is this film less known than "Casablanca" or "The Third Man"? Maybe it's because many see it as "just" a comedy, which these people consider a "lesser" art-form. In my opinion they miss that the brilliant screenplay just smoothes out the edges and puts some very sharp and witty dialogue on a plot and setting, which is actually very "noir"ish at heart. I guess it takes someone like Billy Wilder, who returned with this film to a city where he once lived (and that he loved), to discover the comic effect of a "weight-challenged" GI with a bunch of flowers and a dachshund on the lead walking to his "Fräulein" through the ruins of a bombed-out street. Less ingenious directors probably would have indulged in mourning and (self)-pity, which is exactly why many German movies from that immediate post-war time are unwatchable (unless you are fascinated by the morbid beauty of the ruins and rubble).

As a German my only minor quibble with "A Foreign Affair" is the German dialogue (not the occasional "Strudel" and "Gesundheit" from the American actors, but the actual German by supporting actors and extras): in most cases it sounds embarrassingly dumb, even feebleminded. Apart from one scene that has the same level of cynicism as the English dialogue (the choleric policeman asking "You live? Do you have permission?" after the "Lorelei" round-up), only Marlene Dietrich is allowed to talk normally.

Otherwise it's one of Billy Wilder's best films (which is synonymous with being one of the best films of all time). Unfortunately you don't get characters like Captain Renault ("Casablanca"), Major Calloway ("The Third Man") or Colonel Plummer ("A Foreign Affair") anymore in contemporary films. A pity!