Le Temps d'aimer et le Temps de mourir

While not liking every film Douglas Sirk did (my recent viewing of 'Magnificent Obsession' for example really underwhelmed me, sorry to anybody who disagrees and they undoubtedly exist), he was an interesting director and one of the most interesting when it came to melodramas which he specialised in. His melodramas are not for all tastes definitely, with some working much better than others, but at his best (i.e. 'Imitation of Life') his films were brilliant.

'A Time to Love and a Time to Die', a title that some people are going to love and others are going to hate (even if it is an over-the-top one it is generally a poetic one in my view and pretty much sums up what the film is about), may not be one of Sirk's best. Having said that, while it is not perfect by any stretch, it is one of his most interesting with the subject matter for example and also one of his most underrated and deserving of more credit than it does.

It isn't without problems in my view. It does run a little too long and it makes the film occasionally drawn out, the romance occasionally slows things down a bit. Some of the dialogue is rather soapy and could have had more punch, at least it is not as unintentionally camp or as sentiment-heavy as some of Sirk's other films.

Did feel generally that debuting John Gavin, once you try to get over the fact that he is not remotely believable as a German, didn't do too badly a job, but inexperience does show initially where he doesn't always look comfortable.

Mostly he plays his role with authority and pathos and Liselotte Pulver is both fetching and affecting as his love interest. Their chemistry is charming. Keenan Wynn and Charles Regnier are memorable in support, the whole cast in fact give everything they've got and make characters that sound on paper cliched and potentially sketchy interesting and certainly more plausible than those in other Sirk films, the conflict having tension too. 'A Time to Love and a Time to Die' looks great and is especially lavishly and not too glossily shot. Miklos Rozsa's score is sweeping and haunting.

Sirk's direction has the sensitivity and passion that was missing in 'Magnificent Obsession' and the war scenes are staged very powerfully without being cluttered. While the script is not perfect it is sincere on the whole and as said it is not camp and sentimental. Furthermore, 'A Time to Love and a Time to Die' is an emotionally powerful film without being manipulative or over-sentimentalised, the war scenes are harrowing and poignant. The ending is shocking and really did appreciate that it didn't go the too pat route like other Sirk films did.

Overall, interesting and powerful film that deserves more credit than it does. 7/10

Re: Shannon Box's (sbox@gvtc.com) observation: "In short, this is an important film of significant value. Not because it is about history, but because it is about the redeeming quality of humanity, even if displayed in the setting of our onetime enemy." I would change the last of Shannon's statement to BECAUSE it is displayed in the setting of our onetime enemy. I saw this film shortly after it was released, in a theater on a USArmy post in Munich, Germany (McGraw Kaserne). At that time I was a student, especially of German history. This film provided an opportunity to be transported, for a few hours, into that closed society that our German friends had lived through but could not adequately convey to us. For those who enjoyed this film I would recommend reading "The Officer Factory" by Hans Helmut Kirst and Betrayed Skies (I have forgotten the author, but that is a first rate but largely unknown German pilot's story of his unwilling part in the air war). In short, this is a modern day All Quiet on the Western Front.

I can recommend this war film. Despite distracting weaknesses in production quality, the power of the material carries the viewer along very effectively. The scenario is the dying days of World War II from the perspective of a German soldier. This represents unusual material for Hollywood, and romantic leading man John Gavin is odd casting as the hero. Although his flashes of American pearly whites are incongruous, he and indeed all the actors do quite well in their parts although hampered by the forced pace of the direction and the artificial quality of the sound recording. Clearly overdubbed, the dialogue has the quality of a read- through in an indoor studio, despite most of the action being out-of-doors. The cinematography is quite good and the sets impressive as the soldier Ernst moves from the horrors of the Russian front to the heavily-bombed hometown where he returns on leave. Trying to find what has become of his parents, he receives little sympathy from his countrymen and women, who are deadened (or maddened) by the bombardment from the skies they are experiencing. Officialdom is represented by a range of repulsive types, underlining the moral ambiguity the hero is struggling with after his experiences on the front. Where in all this horror is anything worth living for? The answer comes in his developing relationship with the winsome Elizabeth, portrayed by a delightful actress whose name is not familiar to me. What hopes of happiness in the maelstrom of the times? A poignant moment comes when the couple fantasize where they would like to go for a honeymoon, only to reflect that as Germans they would be hated just about everywhere. I found this a memorable film.

I saw this fabulous tear-jerker purely by accident but I don't regret it one bit. In my opinion it's one of the best romantic war films ever made. This is mainly because the fabulous director Douglas Sirk doesn't allow it to become a soppy schmaltz. Also, the film is incredibly moving, especially in a scene at the beginning where a young man, unable to live with the guilt of having shot a woman, shoots himself. John Gavin is good as Ernst Graeber and his beloved is adequately played by Liselotte Pulver, but the most outstanding performance, I think, is by Charles Régnier as Joseph. If more war films were made like this then they would be much, much more watchable. The credit sequence at the beginning of the film is also very well done. Why don't more people know this masterpiece? Enjoy! (and don't forget the Kleenex) 10/10

...in this time of generalizations and terminally low attention spans (not to say inexistent historical memory) people who have been the hollywoodesque cartoonish image of all 1930/40s Germans to be goose-stepping-order-barking-black-uniformed-ss-genocidal-murders could have their insight skills sharpened a bit more by this movie directed by Detlef Sierck (his real name). Actually lots of people in the 3rd Reich must have felt like Sierck himself, who obviously loved his fatherland but hated the Nazis and the way they tried to rape and pervert the very idea of the 'german nation' to their twisted ends...and those who were not lucky enough to expatriate like he did would have lived like the protagonists of this drama, suffering through an unwanted war having to witness both the cruelty of the regime AND the devastations from the war that the regime forced upon its people (the political prisoners forced to clear rubble from the air raids is a TELLING scene indeed!). The only thing that upset me a bit was the censorship forced on the filmmaker which in several scenes has to resort to silly 'visual tricks' to 'avoid' showing swastikas (a tube blocking our sight over the Military Police gorget in one of the first scenes, the queer angle at which a NSDAP member crosses our p.o.v. in the restaurant scene so we can't see the front of his armband)....now think a bit...if a catastrophe strikes and leaves this movie the ONLY proof of semi-historical value regarding WW2 the historians of the future will be oblivious of the centrepiece of nazi imagery...how STUPID is that???

Down with censorship I say, either sexual, political, intellectual et al...