Deutschland jahre null

Top cast Edit. Ingetraud Hinze Eva as Eva. Jo Herbst Jo as Jo uncredited. Barbara Hintz Thilde as Thilde uncredited. Adolf Hitler Self as Self archive footage voice uncredited. Christl Merker Christl as Christl uncredited.

Gaby Raak La donna di generale as La donna di generale uncredited. Inge Rocklitz Rifugiata as Rifugiata uncredited. Roberto Rossellini. More like this. Watch options. Storyline Edit. Edmund, a young boy who lives in war-devastated Germany after the Second World War, must do all kinds of work to help his family get food and survive. One day he meets one of his former teachers and hopes to get support from him, but this man's ideas don't lead Edmund into a clearer or safer way of living.

The country is obliterated, the buildings are dilapidated and the people are desolated. Not Rated. Did you know Edit. Trivia Exteriors were shot in Germany while all interiors were shot on a sound stage in Rome. When the German actors arrived in Rome, they ate pasta in abundance, something which the current economics of Germany could not afford.

The German actors gained weight and shooting had to be postponed until they slimmed down to their original weights. Quotes Narrator : This movie, shot in Berlin in the summer of aims only to be an objective and true portrait of this large, almost totally destroyed city where 3.

User reviews 62 Review. Top review. Fear eats the soul. Rossellini's films just after World War II are to be appreciated as both social comment and for artistic advancement in the matter of film. This film, like no other, deals with Germany as a vanquished nation, driven downward toward annihilation.

Edmund, a young boy, made to beggar himself in order to survive, gives one of the truly authentic portraits of youth driven to despair ever seen on the screen.

How used to sentimentality we Americans had become by the time Rossellini made this desolate vision of a destroyed post-war Europe.

How coddled and led astray were we by image after image of dimpled, freckled kids clutching hold of their pets. Children the likes of Mickey Rooney or Dean Stockwell. How engaging Edmund isn't just a child, we learn. But more so, a country. A nation bombed into rubble and tasting its own ashes.

Stripped of everything of any value and reduced to zero. Rejected by everyone and forced into murder I believe the message is that Germany was and continues to be a null. A zero. A conquered culture. We see a similar thing in the kowtowing stereotype of conquered Japan. And though Japan might be experiencing some moderate-to-light financial troubles in recent years, Germany is by all accounts the economic powerhouse of continental Europe.

Why do I bring economics into the discussion? Because wealthy nations are able to assert themselves. But let us step back a bit. Wikipedia does have some tasty morsels of information concerning this film. If the source can be trusted, this film was not shown in Germany the country from whence the language of the film takes its name until Wow…26 years.

Either this film was grossly misunderstood, or it was understood all too well. From my reading, this is a very pro-German document. Rossellini was not George Stevens making concentration camp propaganda. Roberto was making art. The sign of art is the admission of possibilities. Art seduces us because it is subtle. Art does not proclaim in blanket statements. Art does not underestimate the intelligence of the viewer. The desire of neorealism was to film fiction as if it were documentary.

This fiction would be, likewise, based on reality. But why is it, then, that we have very different views of Roberto Rossellini and Robert Flaherty? I will tell you my guess. To wit, he presented his staged documentaries take the oil industry propaganda piece Louisiana Story for instance as if they were naturally-occurring, spontaneous documentaries.

The sin, then, was his duplicitous relationship with his subjects. He actively made his human subjects into actors. Rossellini takes a different tack. It merely has the feel of that medium. No, Rossellini had created something new.

At least one of his concoctions perhaps thanks to director F. Murnau is very fine indeed: Tabu []. Flaherty and Murnau co-wrote this ostensible documentary. Indeed, with Flaherty we come into contact with inchoate, obscure film genres such as docudrama, docufiction, fictional documentary ethnofiction , etc.

Most importantly, none of what I have written here has even scratched the surface of Deutschland im Jahre Null. What ever became of the heartrending main child actor Edmund Moeschke?

I do not know.