1. 48 Stunden bis Acapulco / 48 Hours to Acapulco (1967, Klaus Lemke) (Germany) 4/10
2. Sylvie(1973, Klaus Lemke) (Germany) 5/10
3. Amore (1978, Klaus Lemke) (Germany) 6.5/10
4. Summer in the City (1971, Wim Wenders) (Germany) 5/10
5. Der scharlachrote Buchstabe / The Scarlet Letter (1973, Wim Wenders) (Germany) 5/10
6. In weiter Ferne, so nah! / Faraway, So Close! (1993, Wim Wenders) (Germany) 8/10
7. Auf Wiedersehn, Franziska! (1941) (Germany) 5.5/10
8. Der Apfel ist ab / The Original Sin / The Apple Fell (1948) (Germany) 8/10
9. Ludwig II: Glanz und Ende eines Königs (1955) (Germany) 6/10
10. Schwarzer Kies / Black Gravel (1961) (Germany) 6/10
Margarethe von Trotta
11. Das zweite Erwachen der Christa Klages / The Second Awakening of Christa Klages (1978, Margarethe von Trotta) (German) 6.5/10
12. Heller Wahn / Sheer Madness (1983, Margarethe von Trotta) (German) 7/10
13. Hannah Arendt (2012, Margarethe von Trotta) (German) 8/10
14. Film ohne Titel / Film Without a Name (1948, Rudolf Jugert) (German) 8.5-9/10
15. Nachts auf den Straßen / The Mistress (1953, Rudolf Jugert) (German) 7/10
16. Der Satan lockt mit Liebe / Satan Tempts with Love (1960, Rudolf Jugert) (German) 6/10
Film Without a Name
represents just what is so special to me with so many of the post-WW2 era. It opens with the very idea, present in-full as artists, a director, a writer and a lead actor try to think of what kind of story they can still make, what people want to see, to some extent what they personally want to express (though all is shown to be empty artifice). Instead, they get thrown into a "real" story, which, even as they attempt to make their own spin on, keeps returning to reality. What I also found interesting here is that the meta elements are not overdone - they are a framing device, a way to dissect, comment, reflect, interpret and make jokes - but it is first and foremost the story - a somewhat simple romance of a man of standing and his maid - and a role reversal - plays out.
The actual cinematic nature was quite moderated (interestingly with the exception of when the director attempted to put his spin on the story), it is story first - which is very interesting for a film that plays with form and narrative. Each key character also felt like he or she had been given a clear personality, and was presented with great charisma. It is utterly fascinating that it was Jugert's debut, and interesting that the script was written by Käutner (who is also credited with artistic supervision). A wonderful film, and a new favourite.
Nachts auf den Straßen / The Mistress
was a very good German noir, though it did not hit me as hard. Unlike Film Without a Name I think this film could have used more creative angles, more play with shadows, etc. but still really well done, with a slowbrooding build-up and obvious (but for the longest time never confirmed/dismissed) hints.
Jugert stayed with the German noir themes with Satan Tempts with Love
, this time with slicker shadows and a jazzed up score (that may just be a little too much at times, and occasionally tonally confused). The central conflict is one you have seen before, but it is handled well, and Jugert elevates it to a standard above many of the sleazier German b-crime films of the same period. *Minus points for clearly fake Malaysian playing into all the stereotypes.