Menschen am Sonntag (1930) // dir. Robert Siodmak, Edgar G. Ulmer
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Domenique Dumont | Sunshine In 1929
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Domenique Dumont - People on Sunday
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Seen in 2024:
People on Sunday (Robert Siodmak & Edgar G. Ulmer), 1930
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Berlin Alexanderplatz (Phil Jutzi, Germany, 1931)
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Team Green this. Team Black that. Blah blah blah.
Have you considered that maybe I’m team sexy people? Have you considered that maybe I’m a whore?
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The more I learn about judaism the more I wonder where tf christianity got all its bad shit. Why is divorce a sin in christianity when judaism has recognized the right to divorce for nearly a millennia and has codified religious laws for it. Why does christianity consider sex to be dirty (to the point where puritans considered it a sin to enjoy having sex with your own spouse) when in judaism it's considered holy and it's a literal mitzvah to have sex with your spouse on the sabbath. Why does christianity consider it a sign that you're faithless if you question your religion when in judaism that's considered an essential part to developing your faith. I'm probably stating the obvious here but I still can't get over the fact that there's no historical basis to any of this shit before christianity started, it's like christians just said "hey guys what if we took the torah and built a new religion around it but this time it was actively hostile to human life"
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Menschen am Sonntag (1930) // dir. Robert Siodmak, Edgar G. Ulmer
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People on Sunday (Robert Siodmak, Edgar G. Ulmer, 1929)
Cast: Erwin Splettstößer, Brigitte Borchert, Wolfgang von Waltershausen, Christl Ehlers, Annie Schreyer. Screenplay: Billy Wilder, based on reporting by Curt Siodmak. Cinematography: Eugen Schüfftan.
Only a strict formalist could watch the celebrated docufiction People on Sunday (aka Menschen am Sonntag) solely for its artful blend of storytelling and preservation of the way things were. But for the rest of us, there's no way to watch Berliners enjoying themselves on a Sunday in 1929 without thinking about it as a picture of the calm before the storm -- more especially because the young filmmakers who created it were soon to be caught up in the storm. Within a few years, directors Robert Siodmak and Edgar G. Ulmer, screenwriter Billy Wilder, cinematographer Eugen Schüfftan, and even his camera assistant, Fred Zinnemann, would be driven out of Germany and eventually into Hollywood by the rise of Nazism. No work of art, after all, exists ahistorically. And People on Sunday is a work of art, a charming, slightly saucy glimpse at people being themselves. The five people the film concentrates on are non-actors: a taxi driver, a wine salesman, a salesperson in a record store, a woman who makes her living as an extra in movies, and a model. They're all marvelously un-self-conscious about playing fictionalized versions of themselves, as are the hundreds of Berliners that surround them on the screen.
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