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Niemandsland (1931) No man's land WebDL x264 ger/eng/fre/yid
http://www.imdb.com/title/tt0022204/?ref_=fn_al_tt_2
http://www.filmaffinity.com/es/film596711.html
Niemandsland (War Is Hell) (Hell on Earth)
Título original Niemandsland aka No Man's Land (War Is Hell) (Hell on Earth)
Año 1931
Niemandsland (War Is Hell) (Hell on Earth)
Título original Niemandsland aka No Man's Land (War Is Hell) (Hell on Earth)
Año 1931
Duración 93 min. 66 min (1969 restored)
País Alemania
Director Victor Trivas
Guión Victor Trivas
Música Hanns Eisler
Fotografía Georg Stilianudis, Alexander von Lagorio (B&W)
Reparto Ernst Busch, Vladimir Sokoloff, Renée Stobrawa, Elisabeth Lennartz, Hugh Douglas
Productora Resco-Filmproduktion
Género Drama. Bélico
WE certainly have had our share of war films. First came that series in which every one was a hero and the more of the enemy he sniped the greater was his valor. These were the films of hate. But with the war over there came a reaction to this primitive viewpoint and we shifted to pictures like "The Big Parade," in which the enemy played a lesser rôle and the love interest gained in importance. This was followed by productions like "Journey's End," in which an objective realistic treatment of soldiers in the trenches made war abhorrent. And finally "All Quiet on the Western Front," which added a pacifistic tendency to the cold neutrality of the observer. That should have closed the cycle—I must confess that I attend each new war picture with apprehension and some distaste.
But now along comes "Niemandsland" (No Man's Land) at the Mozartsaal and knocks my theories lobsided. Here is a film that has a lot of things to say about war and says them in an entirely new language. The authors, Leonhard Frank and Victor Trivas, have gone at war with such a passionate bitterness, with such sardonic vituperousness, that a picture of very extraordinary virility and power came out. There are scenes in this picture which are as moving and stirring as anything I have ever experienced in a theatre. In Germany where the reactionaries are looming so threateningly in the background the Resco Film Company, who produced this picture, has done something very closely verging on the heroic. The judges who award the Nobel prize for peace could do worse than consider the parents of this film for their next award.
Odd Companions.
The basic notion about which the film is built is a simple one. Five soldiers, a German, a Frenchman, an Englishman, a Russian Jew and a Negro are caught in a shell hole in no-man's-land. Their common peril brings them together. The observers of the opposing armies report that there are human beings in no-man's-land and they are shelled front both sides. They crawl out of their retreat and side by side they march forward beating down the barbed wire barriers. That is a simple idea which might have occurred to hundreds of writers, it is the way it is carried out that gives the film its exceptional quality.
The picture opens with brief picturizations of the lives of its protagonists before the war. The Russian Jew is a tailor and is celebrating his marriage; the Englishman, a clerk, has just had a son born; the German is a contented carpenter, whose Sunday occupation is conducting a "Gesangverein"; the Frenchman is a factory worker who has just fallen in love; the Negro is a successful tap dancer in vaudeville. Then comes the war, symbolized by the reading of the various proclamations. All the five are wrenched out of their quiet, happy existences. Particularly original in conception was the German's mobilization. Dejected and unhappy he leaves his store. But as he walks along be gets into a crowd headed for the barracks. A military band is heard and he gets into the rhythm. His depression falls off and he marches along with chest stuck out, stroking his mustache and with an inane smile on his lips. After a few impersonal war scenes, which are a skillful blend of actual scenes and studio shots, we go directly to the sequence in the shell hole which opens into a deserted dugout. The German finds the Russian caught under a huge beam. It is too heavy for him to lift alone, and the Frenchman, who has been hidden in a dark recess, comes out and helps. Thus the first contact is established. Then the Negro in his Zouave uniform drags in the stunned Englishman. The other help to bring him around.New York Times
http://www.imdb.com/title/tt0022204/?ref_=fn_al_tt_2
http://www.filmaffinity.com/es/film596711.html
Niemandsland (War Is Hell) (Hell on Earth)
Título original Niemandsland aka No Man's Land (War Is Hell) (Hell on Earth)
Año 1931
Niemandsland (War Is Hell) (Hell on Earth)
Título original Niemandsland aka No Man's Land (War Is Hell) (Hell on Earth)
Año 1931
Duración 93 min. 66 min (1969 restored)
País Alemania
Director Victor Trivas
Guión Victor Trivas
Música Hanns Eisler
Fotografía Georg Stilianudis, Alexander von Lagorio (B&W)
Reparto Ernst Busch, Vladimir Sokoloff, Renée Stobrawa, Elisabeth Lennartz, Hugh Douglas
Productora Resco-Filmproduktion
Género Drama. Bélico
WE certainly have had our share of war films. First came that series in which every one was a hero and the more of the enemy he sniped the greater was his valor. These were the films of hate. But with the war over there came a reaction to this primitive viewpoint and we shifted to pictures like "The Big Parade," in which the enemy played a lesser rôle and the love interest gained in importance. This was followed by productions like "Journey's End," in which an objective realistic treatment of soldiers in the trenches made war abhorrent. And finally "All Quiet on the Western Front," which added a pacifistic tendency to the cold neutrality of the observer. That should have closed the cycle—I must confess that I attend each new war picture with apprehension and some distaste.
But now along comes "Niemandsland" (No Man's Land) at the Mozartsaal and knocks my theories lobsided. Here is a film that has a lot of things to say about war and says them in an entirely new language. The authors, Leonhard Frank and Victor Trivas, have gone at war with such a passionate bitterness, with such sardonic vituperousness, that a picture of very extraordinary virility and power came out. There are scenes in this picture which are as moving and stirring as anything I have ever experienced in a theatre. In Germany where the reactionaries are looming so threateningly in the background the Resco Film Company, who produced this picture, has done something very closely verging on the heroic. The judges who award the Nobel prize for peace could do worse than consider the parents of this film for their next award.
Odd Companions.
The basic notion about which the film is built is a simple one. Five soldiers, a German, a Frenchman, an Englishman, a Russian Jew and a Negro are caught in a shell hole in no-man's-land. Their common peril brings them together. The observers of the opposing armies report that there are human beings in no-man's-land and they are shelled front both sides. They crawl out of their retreat and side by side they march forward beating down the barbed wire barriers. That is a simple idea which might have occurred to hundreds of writers, it is the way it is carried out that gives the film its exceptional quality.
The picture opens with brief picturizations of the lives of its protagonists before the war. The Russian Jew is a tailor and is celebrating his marriage; the Englishman, a clerk, has just had a son born; the German is a contented carpenter, whose Sunday occupation is conducting a "Gesangverein"; the Frenchman is a factory worker who has just fallen in love; the Negro is a successful tap dancer in vaudeville. Then comes the war, symbolized by the reading of the various proclamations. All the five are wrenched out of their quiet, happy existences. Particularly original in conception was the German's mobilization. Dejected and unhappy he leaves his store. But as he walks along be gets into a crowd headed for the barracks. A military band is heard and he gets into the rhythm. His depression falls off and he marches along with chest stuck out, stroking his mustache and with an inane smile on his lips. After a few impersonal war scenes, which are a skillful blend of actual scenes and studio shots, we go directly to the sequence in the shell hole which opens into a deserted dugout. The German finds the Russian caught under a huge beam. It is too heavy for him to lift alone, and the Frenchman, who has been hidden in a dark recess, comes out and helps. Thus the first contact is established. Then the Negro in his Zouave uniform drags in the stunned Englishman. The other help to bring him around.
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Complete name : Niemandsland (1931) No man's land WebDL x264 ger.mkv
Format : Matroska
File size : 1.08 GiB
Duration : 1h 6mn
Overall bit rate : 2 319 Kbps
Encoded date : UTC 2014-04-18 20:54:21
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Language : German
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Title : eng/ger/yid/fre
Language : German
Niemandsland (1931) No man's land WebDL x264 TD ger.mkv [1.08 Gb] 
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