Sous le gravier noir

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.

This is rather terrific and very different something like a noir, but certainly very dark and nasty with some surprisingly, sudden moments of nudity. Set in Sohnen, a fictional village, in Hunstrueck near by a US airbase using to train jet pilots although here we do not see these but instead we have the black market and this amazing bar and brothel. There is death from the very beginning and some more but none of those sexy kills and there is something worrying amidst the rubble and muddy sites while overhead the whine of those jets. In that bar there is fun and sex and music from the jukebox but dark outside there is death and passion and nothing sentimental at all. The location shooting was done at the Hahn Air Base and the interiors in Berlin. Helmut Kautner filmed throughout the war but after this one there were clearly problems and even making some cuts it disappeared and afterwards he moved into TV.

(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.

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.

"Schwarzer Kies" is an extremely bleak movie that makes me wonder it ever found enough supporters to get made at all. The dark, disturbing story is portrays a German village living off an American Air Force Base (around 1960) mostly by cheating and prostituting. It is not surprising that the film didn't do much money at the box office. And the film was hurt by an accusation of antisemitism, which led to being recut to avoid a bad press. The accusation was a clear misinterpretation. What the film really did, was to show that antisemitism was still around and some people had not changed.

The Americans (all played by German actors) do not appear much better than the Germans. Their plan to build a rocket launch base does not sound very promising for peace. The soldiers are shown mainly frequenting a local bar/bordello and the officers checking bills and hoping to leave soon for a better post. Director Helmut Käutner did not spare many, most people in his film are in some way cunning, every one seems to be involved or at least in the know of the black market around the base. From the very first scene to the very last, the film is most uncompromising in his portrait of greed, lust and bondage.

The actors are all unknown today although they did a good job. It is a Germany we have never seen on film before or even after. It took guts to get this film made. The Friedrich Wilhem Murnau Stiftung did a great job restoring the film to its original lenght and optical quality.