A Berlin Romance

A Berlin Romance (1956)

Eine Berliner Romanze

Mid-1950s Berlin, before the building of the Wall. Uschi, a salesgirl and aspiring fashion model from the East, is attracted to Hans, from the West. But she also loves the bright shop windows in his part of the city. The flashiness of this new world soon evaporates, however, when Hans loses his job.

Date of release
1956-05-16
TMDB
5.8 / 10 (9)
Runtime
1h 21m
Genres
Drama, Romance
Director
Gerhard Klein

Casting

Interesting facts

A Berlin Romance is a 1956 East German neo-realist romantic drama film about youth urban life in the divided city of Berlin, directed by Gerhard Klein. It was produced by the DEFA film company. It stars Annekathrin Bürger, Ulrich Thein and Uwe-Jens Pape. The script was written by Wolfgang Kohlhaase with a score composed by Günter Klück. The film was the second collaboration between Klein and Kohlhaase; the first was Alarm in the Circus, released in 1954 and third came in 1957 with Berlin - Ecke Schönhauser. These films were noted for their strong criticism of consumer culture in Berlin after World War II and the Americanization of the capital and are amongst DEFA's best known films.

Production

Seeking to infuse the film with a strong sense of realism, Cinematographer Wolf Göthe used techniques such as wide-angle lenses, extensive location work and high-speed film.

The film, inspired by Italian neo-realism, is a poignant insight into the difference in socio-economic customs and general domestic life which divided the city of Berlin during this period. Through the protagonist, Uschi, the audience is able to understand the feelings and emotions felt by many at the time.

The film is one of the strongest critiques of consumer culture in Germany in the 1950s in the aftermath of World War II.Alexander Stephan, in his book, Americanization and Anti-Americanism. The German Encounter with American Culture After 1945, argues that connection between bourgeois and individualism and the ethos of socialism became increasingly politicized after the Second World War.

He argues that the film, rather than being an advert for West Berlin, is in fact a critique of Americanization in the western side of the capital, and that American masculine influences weakened traditional senses of authority in both public and domestic life, and says, "In typical neo-realist fashion, Klein and Kohlhaase evoke the Americanization of East Berlin through their relationship [...]." The film, in this context, can therefore be seen a…

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