Zwischen gestern und morgen (Harald Braun, 1947) DVDRip VOSE

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felipemarlou
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Zwischen gestern und morgen (Harald Braun, 1947) DVDRip VOSE

Mensaje por felipemarlou » Dom 17 Oct, 2021 17:07

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Zwischen gestern und morgen (1947)
Entre ayer y mañana

Dirección: Harald Braun
Guión: Harald Braun, Jacob Geis, Herbert Witt
Música: Werner Eisbrenner
Fotografía: Günther Anders
Productora: Bavaria Film, WDR
Género: Drama. Bélico
Alemania
107 min.

Cast:
Hildegard Knef.........Das Mädchen Kat
Winnie Markus ... Annette Rodenwald
Sybille Schmitz ... Nelly Dreifuss
Willy Birgel ... Alexander Corty
Viktor de Kowa ... Michael Rott
Viktor Staal ... Rolf Ebeling
Carsta Löck ... Frau Gertie
Adolf Gondrell ... Dr. Weber
Walter Kiaulehn ... Intendant Kesser
Erich Ponto ... Professor von Walther
Erhard Siedel ... Herr Hummel
Otto Wernicke ... Ministerialdirektor Trunk


https://www.imdb.com/title/tt0040016/


Sinopsis:
Un grupo de personas se reúne en las ruinas del que fuera un lujoso hotel de Munich en el que habían residido años atrás. Cada uno de ellos intenta hacer cuentas con las trágicas consecuencias de la guerra y de sus propias acciones. (FILMAFFINITY)


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Unexpectedly sensitive movie, structured in a series of flashbacks from different points-of-view, about the destinies of a series of residents of a large hotel in Nazi Germany and immediately after 1945. This is much less romantic than what Hollywood would have produced on the same subject, but the character of Nelly, the Jewish actress who's had to divorce her stage star non-Jewish husband, is extremely well-drawn and memorable in her dignity and elegance. Well-worth seeing. Why did German cinema vanish soon after this movie was made? What became of good directors like Braun? (imdb)


The German cinema of the post war years was in great danger to be thrown from one extreme to the other. In the films of the Third Reich you can almost never see the ruins or actual war; at the best you get a glimpse of soldiers on home leave. Since 1946, the "ruin-films" were produced, and for the next 5 or so years the cinema seemed to be eager to make even for what it had failed to say during the period it was only serving entertainment purposes. Plus, it sometimes went to great length to prove (to the Russian and American censors) that things were definitely not what they seemed. The reaction is understandable and expectable, but it often produced very heavy and humorless films with the tendency to grovel in remorse - generally acceptable as a concept, but making a tiresome watching. And then there was another turn - by 1950 there emerged a new, intolerably optimistic, carefree and plain stupid kind of comedy, which was light years away from the sophistication and decadence of the Nazi cinema. We have to keep in mind, that German film now had to provide entertainment to the millions of ex-enemies, the people in the Soviet Union.

Between Yesterday And Tomorrow is a film which is pure in its integrity, standing somewhere in between the old and the new, incorporating the best elements of the bygone and the yet to come. The title really works as a prophecy. You get the melancholy romance and occasionally the optimism of a ruin-film, and the visual perfection of an old school German melodrama. You get all the giants of the Nazi cinema in one film, the superstars who drew millions into the theatres in spite of the falling bombs. Victor Staal, Willy Birgel, Wiktor de Kowa, Sybille Schmitz and Winnie Markus all give solid, troubled, sensitive performances, in many cases the best performances of their lives. Soon the style was to change for ever, and these actors and the types they represented belonged to the past. Then there's the new face of the German cinema, legendary Hildegard Knef, a woman of mystery - the personal pet of Göbbels, a fierce fighter in the uniform during the battle for Berlin, the POW. All this happened before she was even 20. It was her fortune that even though she made her screen debut in 1944 (being very effective in a short feature "The Actor's School" which was the one that caught Göbbels' eye), the few films she did before the end of the War were screened only after May 1945, so she effectively became the first new star of the post-war cinema.

The motive of remorse and Nazi atrocities are touched very delicately and yet very realistically. US and SU filmmakers never seem to understand that a crime against a person, committed with white gloves and a smile upon the perpetrator's lips, is much crueler than the same crime accompanied by shouting, screaming and barking of the dogs. Here we are shown a delicate Jewish actress being cornered - virtually sentenced to death - by three polite gentlemen, and the result is much more horrifying than a familiar scene from countless films where the Nazis are depicted stupid, loud-mouthed barbarians who are effective only in the basest level of producing fear. The scenes with Sybille Schmitz are the more disturbing, when one knows that she is far from acting and her own life would reflect the film in many aspects. In spite of working in may Nazi propaganda films, she was reportedly of Jewish origin. Her unreal, ethereal appearance that was always shrouded in the air of unpretentious tragedy and perdition, didn't fit in the "new look". She gradually lost work and money, became dependent on drugs, and committed suicide only a few years after her on screen suicide in Between Yesterday and Tomorrow. All this makes her desperate, fragile performance painful to watch.

This absorbing film has often been compared to The Grand Hotel, but in fact it's much deeper and much more tragic. Everything about this film seems to be perfect - the actors, the camera work, and the way the complicated story is presented in different flashbacks, giving the film a very modern structure. The lightning is beautiful, there are some posh costumes and a very good swing band performing in the night club. A work of poetry with strong touch of realism and little or no sentimental manipulation. (Mart Sander / imdb)


COMENTARIO DE FELIPEMARLOU


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Arriba, el director, Harald Braun (1901-1960)

Abajo, Hildegard Knef (1925-2002), auténtico icono del cine alemán de posguerra.

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Harald Braun rodó en 1947 esta película (con el innegable impacto visual proporcionado por las imágenes de la bombardeada ciudad de Munich), acerca de varios personajes que confluyen en un hotel y cuyo tiempo presente, viene condicionado y marcado por el ayer. Un film coral con personajes y vidas entrecruzadas y que se nos va desgranando poco a poco mediante una serie de flashbacks. Como en algún film coetáneo de Wolfgang Staudte, el film no esconde su clara posición ideológica (aunque se agradezca que lo haga sin caer en los consabidos maniqueísmo molestos) y aunque no eluda el plano político termine por centrarse más en el plano humano de los personajes y la historia. No es tanto un film político, sino de cómo la política condiciona el destino de las personas, algo que como de todos es sabido, ocurrió en la convulsa Alemania de aquella época. Un film sorprendente, con la elegancia formal de un Ophüls (ejemplar además el uso del flashback, en la línea de las posteriores Los peces rojos o Liberty Valance) y la emotividad de algunos de los mejores Chaplin o De Sica. Hay algunos momentos de especial fuerza, todo lo referente al hotel derruido, cuyas imágenes están cargadas de una fantasmagoría especial, como volver al pasado que diría Tourneur o parafraseando al film de Dieterle, Ciudad en sombras. Me quito el sombrero anteel señor Harald Braun.

En el plano actoral, todos los actores cumplen con sobrada eficacia su cometido. A mí en especial me ha gustado Hildegarde Neff a la que recuerdo en más en sus films Fox de inicios de los 50's de Anatole Litvak, Hathaway o en la estupenda Las nieves del Kilimanjaro de Henry King. Vamos que aunque la recuerdo en Nachts auf den Straßen (1952) de Rudolf Jugert y que trajo Hammett hace un tiempo, pero no la recordaba tan guapa ni tan buena. En esta peli en concreto me ha sorprendido muy positivamente su actuación. Ella fue uno de los motivos por las que que empecé a interesarme en la peli...tenía cercano en el tiempo sus actuaciones en pelis hoy día de culto del cine Alemán de posguerra como Unter den Brücken (Käutner, 1946) o Die Mörder sind unter uns (Staudte, 1946).

En el apartado técnico, nada que decir. Como es Alemán transcrito al inglés me fío del amigo (gracias a su anónimo autor) que los hiciera. He desdoblado alguna línea (¡esa manía de ahorrar poniendo 2 diálogos en la misma secuencia cuando transcurre tanto tiempo!) y añadido algún matiz. Los subtis los extraje de la copia MKV con los incorporaba y a pesar de algún de OCR que corregí el 95 % quedaron bien. Un vez corregido el srt , lo he incororado, así como la doble banda en castellano (en color amarillo y normales) en el MKV.

El trabajo va dedicado a Aguadulce, que sé que le gustará (bueno, o al menos la verá). :lol:

Espero que la disfrutéis tanto como yo.




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Datos técnicos:
Spoiler: mostrar
General
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Menu
00:00:00.000 : en:Chapter 1
00:56:34.560 : en:Chapter 2

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Enlace emule:
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English and spanish subtitles dentro archivo


Subtítulos en español de Felipemarlou en descarga directa
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https://www.subdivx.com/X6XNjAwNjMxX-zw ... -1947.html

joramor
Mensajes: 2017
Registrado: Vie 05 Nov, 2010 19:55

Re: Zwischen gestern und morgen (Harald Braun, 1947) DVDRip VOSE/I

Mensaje por joramor » Dom 17 Oct, 2021 17:51

Muchas gracias!

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