Tonnerre sur Berlin

Dana Wynter had presence ( not all actors do ) and I feel she was vastly underrated. Here she is given the lead in a film that attempts to reconstruct Germany at the time of its defeat, and the advance of the Soviets into Berlin. With the brutal death of her father in Cologne Erica goes to Berlin, and there inadvertently enters a house of prostitution. Interestingly told it is full of stereotypes ( less for the Germans than the Soviets ) and this in many ways detracts from the films serious approach. Perhaps Koster was not the right director, but the scenario borders on the sensationalist aspect of the Soviets, and that in the main was their need to rape any woman on sight, including of course Erica. Mel Ferrer ( not the best actor ) is the G. I. who comes like a shining knight to save her, and here end of spoilers. Filmed well in Cinemascope there are good moments, but it is Dana Wynter's film and in my opinion she carries it more or less single handed to a higher level. Another ' lost ' film that I accidentally saw on television. Worth seeing but on my part with deep reservations about authenticity.

It is really a wonderful love story set in war time and post war Germany. Dana Wynter was her usual terrific self. This movie was shown on a cable channel a few years ago. I believe it was Amercian Movie Classics during the time their movies were commercial free and the host was Bob Dorian. I have not seen it since. It should be released as a classic on DVD.

One wonders why so many excellent screen classics and exceptional "made for TV" movies are never released in video or at least shown on regular or cable TV stations. Well, I guess we will never know. As a fan of this movie and one who would love to see it again, I'll keep hoping.

I liked this sweet, but caustic movie of post-World War II. It could be tearful for others besides me, but I think that people who like this type of movie will also enjoy this film. So many people were caught up in similar circumstances during this war and afterward and is very similar to some situations in Korea and Vietnam. It is basically a love story, but full of pathos and irony that was so typical of the times of WWII and afterward. Some reviewers may take issue with the tale of a German girl helping a US soldier, then being held by the communists, but it is a mere sidestory to the true love story that exists in the story and film. f you liked the following movies: From Here to Eternity - Hiroshima, Mon Amour - Love is A Many Splendored Thing - Sand Pebbles, then you will enjoy Fraulein.

This is Dana Wynter's film, there is no question about it. It is her story as the daughter of a German professor in Cologne who gets killed in one of the last air raids of the war, whereafter she is lost and has to survive by any means, possible or impossible. She ends up in Berlin where she has to lead an existence like one of the ruins, until chance moves in. It's a great story, and although Mel Ferrer is the male lead, he is actually only a supporting actor to Dana Wynter, who makes her smile. There are many fine sequences, but one of the best is the appearance of Theodore Bikel as a Russian officer saving her from harassment by his soldiers and actually saving her life, while he gets drunk out of infatuation with her, wishing to marry her and take her as a bride to Bucharest and giving a hell of a party, before he vanishes out of the film to further unknown adventures in Bucharest. Another poignant scene is her encounter with her crippled former fiancé, who is too well aware of that the world of their love its gone forever and acts accordingly. Throughout the film Dana Wynter keeps her poise, she never smiles, she is dead serious too well aware of the war that has ruined her world and possibilities, and yet her personality brings some magic that makes people help her on - the story of her room mate is of vital importance and should be followed carefully, from the moment she steals her vodka and to the final crisis. This is a film to love and enjoy, and there is no propaganda in it. Berlin is caught in the realism of its ruins, like the whole film is genuinely realistic. Henry Koster was thoroughly reliable throughout his career and made many classics, although he never was generally put in the first rank.

Despite Fassbinder's admiration for Douglas Sirk this glossy production in colour and 'scope by his compatriot Henry Koster more closely resembles the younger director's 'The Marriage of Maria Braun' than anything Sirk himself made (which might not be mere coincidence since leading man Mel Ferrer was later in Fassbinder's 'Lili Marlene').

Because allegiances had switched in the intervening ten years since the time in which it was set the Russians are far less attractively portrayed than the Germans; but at least Theodor Bikel gets to sing!