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To compare the cinema of 1946 and sample that of the US and that of Germany is to stumble upon the most severe of contrasts, and yet within this the word noir might still function to explain what we are seeing.
Die Mörder sind unter uns, known in English as The Murderers Are Among Us, is the most naturally ironic film one could imagine. The irony of anything at all happening in the rubbled remains of Berlin is strong enough without adding romance, and Christmas.
Die Mörder sind unter uns (1946) if it is available to you, please watch this marvel of production, of acting, of art, the triumph of art and the power of the triumph of art, the entire context of film noir is not only captured in this absolute classic of the style, but the storyline with its peace and vengeance thing, its shadows and focus of identity and the rubble itself, this is why Die Mörder sind unter uns (1946) is a classic film noir.
Were there ever German film noir, look no further, this is it, and in this capacity stuns us, a classic Trümmerfilm and a classic movie, and an achievement of many sorts in its historicity and historical setting and production setting.
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| Trümmerfilm |
Die Mörder sind unter uns does contain depths that in any other capacity would be film noir. It's probable that once again the definition of noir is being expanded, and although the time is correct, it is only the place that is not — film noir is Amercian and always will be.
And yet if we can talk of British noir, which we do — although its technically correct title is Limey Noir — and if we can talk of French noir and Japanese noir — which we do — might we then talk of German and Italian noir — and if not then why not?
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For this reason, a Trümmerfilm is most likely to be a film noir, and of course there are some film noir that are well known as noir but are equally known as Trümmerfilm — such as Berlin Express (1948) and The Third Man (1949).
A Trümmerfilm will likely always be film noir, and if made in Germany probably represents a significant body of 1940s German cinema. Given that so much of what we love, adore, enjoy, and repeatedly discuss in high falutin fancy tones as film noir, from Billy Wilder to Fritz Lang, with so many in between — this of course originated in Germany.
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Why therefore enjoy the fruits of German expressionism and all the film noir glory it gave us in pre- mid- and post-war America, only to deny the meagre artistic expression that literally emerged from the rubble of the war, and say that it is not film noir, and not worthy of examination?
For the film Die Mörder sind unter uns (1946) is most certainly a film noir. It deals with the aftermath of war and is spread with the shadowy photography that was its necessity, as many of the locales featured did not even have an electric supply. On top of that it is a story of revenge, and is cynical to the core, revealing a failing weakened male lead, and a man fighting with his past.
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| Hildegard Knef in Die Mörder sind unter uns (1946) |
In fact the cynicism is the most solid you will find in film, featuring a doctor who no longer sees any point or future in healing mankind, and the awfulness of his decline, and his focus on a painful past.
Creating a comprehensive list of all rubble films made in the early post-war period is challenging due to the fact that most German post-war films address issues related to the recent past and then-present times.
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The Murderers Are Among Us is set in post-war Berlin and follows Susan Wallner, a concentration camp survivor, who returns to her home to find it occupied by a troubled ex-surgeon, Hans Mertens. Mertens is thoroughly scarred by his wartime experiences, is haunted by memories of atrocities committed by his former officer, Ferdinand Brückner, who later reappears, intensifying his trauma.
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| Hildegard Knef in Die Mörder sind unter uns (1946) |
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| Hildegard Knef in Die Mörder sind unter uns (1946) |
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| Wilhelm Borchert in Die Mörder sind unter uns (1946) |
The film incorporates expressionist techniques like chiaroscuro and distorted imagery, common in German cinema but increasingly familiar to Hollywood noir audiences by 1946.
The incidental characters are mostly old timers who are surviving as they always have, the mid 20th century's most widespread victims, and in this midst only the heroic Susan is a character of sanity, standing and morality. As such she represents something more than a concentration camp survivor, but more of an ideal home maker and maternal force, in a film where there are no femmes fatales.
While the film uses Hollywood-esque tropes, such as a beautiful refugee and symbolic music, its power lies in its reflection of a devastated post-war Germany. Director Wolfgang Staudte employs unsettling close-ups and ironic scenes to emphasize the moral decay—like Brückner’s casual breakfast following a headline on mass murders.
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| Trümmerfilm ist deutscher Noir — Die Mörder sind unter uns (1946) |
When there is criticism of this film, it tends to be around the fact that Hildegard Knef is far too good looking to have recently exited a concentration camp, but what of it? The appearance of the film, and its power, both are a miracle, and her beauty is cinematically enhanced by the horror of the rubble.
And there is Christmas, providing as it must often do, the most profound irony.
Initially, the film’s ending had Mertens killing Brückner, satisfying the audience’s desire for justice. However, with the Nuremberg Trials ongoing, the Allies urged a revision, leaving Brückner’s fate to the courts, which gave the ending a less satisfying, somewhat contrived tone. Hildegard Knef’s role as Susan Wallner drew international attention, though she resisted pressure to obscure her German heritage for a Hollywood career.
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Most of these films employ a pseudo-neorealism or formalist style to address the problem of German national identity in the post-war period. The formalist style engages with post-war reality in two ways: directly, by depicting destroyed cities, and indirectly, by addressing post-war reality metaphorically. This distinction between pseudo-neorealist and formalist styles in rubble films is crucial for understanding the mixed critical reception of post-war rubble films, particularly those made in a formalist style.
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To gain permission for his film, Staudte approached the British, French, and Americans, but all rejected the proposal due to its political nature. The Soviets, however, accepted the script with a modification to the ending. Initially titled Der Mann den ich töten werde (The Man I Will Kill), the script and title were changed because the Soviets feared it might be interpreted as a call for vigilante justice.
The final title, The Murderers Are Among Us, debuted on 15 October 1946 at the Admiralspalast, the then-home of the Berlin State Opera in the Soviet sector.
In the post-war period, both American and Soviet authorities aimed to reeducate the German public. The Americans focused on exporting American films to West Germany, while the Soviets established DEFA to use film as a re-education tool.
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The Murderers Are Among Us intended to urge the public to hold those responsible for wartime atrocities accountable. Bulgarian director Angel Wagenstein praised Staudte, seeing him as an ambassador who helped renew faith in Germany's capacity for self-reflection and acknowledgment of guilt.
Ernst Wilhelm Borchert was removed from the movie's advertisements due to accusations related to his denazification paperwork. However, he was later exonerated by the Denazification Commission for Artists.
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| Wilhelm Borchert in Die Mörder sind unter uns (1946) |
Part of denazification also involved the search for a new German culture. Post-war German cinema played a significant role in this cultural search, exploring various film styles. The Murderers Are Among Us blends elements of Western and domestic melodrama. Hans, the protagonist, is presented as a Western hero but does not succumb to vengeance, while the domestic melodrama aims to restore order through Susanne's efforts to establish a household for Hans and reintegrate him into society.
Die Mörder sind unter uns is a landmark film in the history of cinema, notable for being the first film released in post-WWII Germany. This significant film, directed by Wolfgang Staudte, delves deeply into themes of guilt, helplessness, and incapacity through its primary characters, Dr. Hans Mertens (Ernst Wilhelm Borchert) and Suzanne Wallner (Hildegard Knef).
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Dr. Mertens, once a practicing physician, is a man consumed by anger and disillusionment due to the war's senseless loss of innocent lives. He is haunted by the realization that, in all wars, pawns are sacrificed to save the king. Photographer Suzanne Wallner returns to a Berlin transformed into a desolate landscape of ruins, a far cry from the city she once knew. Both protagonists are solitary figures, grappling with their trauma and haunted by the villainous Nazi, Brückner.
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| Die Mörder sind unter uns (1946) |
Filmed amid the actual ruins of Berlin in 1945/46, the film captures the emotional, psychological, and physical devastation of a city and its inhabitants. The exceptional black-and-white cinematography enhances the narrative's somber tone, employing German Expressionist techniques to create long shadows, high contrasts, skewed angles, and dramatic framings that would later influence the film noir genre.
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The narrative begins with Suzanne returning to her Berlin apartment, only to find it occupied by Hans, a former officer and doctor who has become a disillusioned recluse. Hans, having abandoned his medical practice, finds solace in alcohol, nursing deep cynicism and guilt.
Despite his self-destructive behaviour, Suzanne agrees to share the apartment, eventually falling in love with him. Hans's inner turmoil intensifies upon discovering that his former captain, Brückner, still lives.
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| Hildegard Knef in Die Mörder sind unter uns (1946) |
Die Mörder sind unter uns was initially intended to end with Mertens killing Brückner. However, Soviet cultural officer Dymshitz insisted on altering the ending to avoid promoting vigilante justice. Staudte was fortunate that the Soviets agreed to produce the film after being rejected by British and American military authorities.
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| Wilhelm Borchert and Hildegard Knef in Die Mörder sind unter uns (1946) |
Despite the high expectations, Staudte successfully crafted a groundbreaking film that occupies a unique place in world cinema history, establishing the antifascist genre within DEFA films. The film's stark black-and-white cinematography and Hildegard Knef's sublime beauty provide compelling reasons for movie enthusiasts to watch this cinematic masterpiece. Her fragility in the film starkly contrasts with her later persona as a celebrated German chanteuse of the 1960s.
In conclusion, Die Mörder sind unter uns is a significant post-war film that blends elements of film noir and domestic melodrama. Its exploration of guilt, healing, and justice, set against the backdrop of a devastated Berlin, offers a profound reflection on the human condition in the aftermath of war. The film's stylistic and thematic innovations continue to resonate, making it an essential study for serious students of movie history..png)
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This melding of film styles highlights the tension between creating a new society and culture and coming to terms with Germany's Nazi past. Despite being an often overlooked cinematic legacy, The Murderers Are Among Us provides significant insights into the politics of early post-war German culture, reflecting the complexities of denazification and the reformation of national identity.
The debate surrounding Expressionism in literature, which sparked controversy over realist and formalist styles, further influenced the perception of these films. Marxist philosopher and literary critic George Lukácz argued that formalist styles in literature contributed to the rise of the National Socialist regime, impacting how formalist rubble films were received.
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However, this study contends that such assumptions led to a misinterpretation of formalism in some rubble films. For instance, Staudte’s first rubble film, The Murderers Are Among Us (Die Mörder sind unter uns, 1946), introduces visual techniques and subject matter that invoke a Romantic discourse. This film not only questions critical aspects of post-war reality but also incorporates a Romantic aesthetic, distinguishing formalist rubble films from those rooted in a pseudo-neorealist tradition.
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| Die Mörder sind unter uns (1946) |
Formalist rubble films offer a stylized realism that transcends the depiction of external reality, representing the inner subjective world and feelings of the protagonists. By employing specific film techniques, these films create a highly stylized realism that visualizes impressions and emotions, contributing to a critical reflection on past events and post-war reality.
This distinction between realist and formalist features helps illuminate the complex relationship between style and content in post-war German cinema.
The term Stunde Null ("Zero Hour") marks Germany’s midnight on May 8, 1945, symbolizing the end of WWII and the beginning of a post-Nazi Germany. As part of the Allied-driven denazification effort, German cinema was transformed, aiming to distance itself from Nazi ideology and foster a fresh identity. Filmmakers of the era, however, faced the challenge of creating works under Allied-imposed restrictions that often clashed with preexisting cultural frameworks.
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The “Rubble Films” produced between 1945 and 1951, many by DEFA (Deutsche Film Aktiengesellschaft), exemplified this transitional period. Often lacking cohesive narratives or aesthetics, these films reflected the uncertainty of postwar Germany, blending experimental styles and grappling with ethical complexities. In this way, the Rubble Films actively reimagined German identity, setting the stage for a distinctive cultural reckoning. Non-German filmmakers, such as Roberto Rossellini, also contributed, capturing Germany’s devastation and reshaping postwar cinematic landscapes.
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Hildegard Knef (often Anglicized as Hildegarde Neff) was a German actress, singer, and author, known for her distinctive smoky voice, bold personality, and pioneering spirit in postwar European cinema and music. Born in 1925, Knef rose to fame as one of the most iconic and controversial figures in German entertainment during the mid-20th century. She became widely recognized for her roles in films that broke taboos and challenged societal norms, especially in post-WWII Germany, where she was celebrated as both a symbol of resilience and reinvention.
Knef’s breakthrough came with her role in Die Mörder sind unter uns (The Murderers Are Among Us, 1946), directed by Wolfgang Staudte, which was the first German film made after WWII. The film tackled the trauma of the war and Germany’s moral reckoning, themes that Knef's acting brought to life with an intensity that resonated deeply with audiences.
Known for taking risks, Knef later caused a scandal in Germany by appearing in the nude in the 1951 French film The Sinner (Die Sünderin), which drew criticism but also marked a step toward challenging conservative views on female sexuality.
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| Wilhelm Borchert in Die Mörder sind unter uns (1946) |
Ernst Wilhelm Borchert (1907–1990) was a celebrated German actor and voice artist known for his commanding stage presence, rich voice, and contributions to German cinema and theater. Born in Berlin, Borchert began his acting career in the theater before transitioning to film and radio, where he became highly regarded for his articulate and resonant voice.
His career was shaped by the tumultuous periods of WWII and post-war Germany, and he became one of the prominent figures in German acting circles during the 20th century.
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Borchert initially rose to fame with his theater work and became associated with Berlin’s prestigious stages, including the Deutsches Theater. In the post-war era, he starred in several important films, including Die Mörder sind unter uns (The Murderers Are Among Us, 1946), directed by Wolfgang Staudte, a groundbreaking film that addressed the horrors of WWII and the moral challenges facing Germany in its aftermath. Borchert’s role in this film further established his reputation as an actor of significant depth and intensity.
Alongside his film and theater work, Borchert was an influential voice actor. He lent his voice to numerous radio plays and dubbed foreign films, including well-known Hollywood productions, which contributed to his popularity in German-speaking countries. His work in dubbing, combined with his distinctive voice, made him a recognizable figure, even to those unfamiliar with his on-screen roles.
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| Hildegard Knef in Die Mörder sind unter uns (1946) |
Ernst Wilhelm Borchert’s legacy endures in German cultural history, particularly for his contributions to post-war cinema and his role in portraying Germany’s post-war introspection and renewal.
Wolfgang Staudte was a German film director and screenwriter, best known for his critical and humanistic portrayal of post-World War II Germany. Born in 1906, Staudte emerged as an influential filmmaker during and after the war, gaining international recognition for addressing social and moral issues in a country grappling with its recent past.
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His best-known film, The Murderers Are Among Us (1946), was the first German film produced after WWII and a landmark in "rubble films" (Trümmerfilme), a genre focusing on the war’s devastation and the moral reconstruction of German society.
Staudte's work often examined the lingering effects of Nazism, war guilt, and the challenges of rebuilding an ethical society. In The Murderers Are Among Us, he explored the psychological trauma and moral conflicts of Germans confronting their culpability in wartime atrocities. His later films, like Rotation (1949) and Kirmes (1960), continued to explore themes of individual responsibility, complicity, and the impact of war on human lives.
His career spanned both East and West Germany, though his critical perspective on German society sometimes led to tensions with government authorities. Staudte is remembered as one of postwar Germany's most significant filmmakers, with a legacy of confronting difficult questions about justice, reconciliation, and historical memory through cinema.
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Die Mörder sind unter uns (1946)
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Murderers Among Us (1946)
Directed by Wolfgang Staudte
Genres - Drama, Romance, Thriller, War | Release Date - Oct 15, 1946 | Run Time - 91 min. |
Wikipeida im Die Mörder sind unter uns (1946)
