| Photos (see all 3 | slideshow) |
| John Gavin | ... | Ernst Graeber | |
| Liselotte Pulver | ... | Elizabeth Kruse Graeber (as Lilo Pulver) | |
| Jock Mahoney | ... | Immerman | |
| Don DeFore | ... | Hermann Boettcher | |
| Keenan Wynn | ... | Reuter | |
| Erich Maria Remarque | ... | Professor Pohlmann | |
| Dieter Borsche | ... | Captain Rahe | |
| Barbara Rütting | ... | Woman Guerrilla | |
| Thayer David | ... | Oscar Binding | |
| Charles Régnier | ... | Joseph | |
| Dorothea Wieck | ... | Frau Lieser | |
| Kurt Meisel | ... | Heini | |
| Agnes Windeck | ... | Frau Witte | |
| Clancy Cooper | ... | Sauer | |
| John Van Dreelen | ... | Political Officer | |
| Klaus Kinski | ... | Gestapo Lieutenant | |
| Alice Treff | ... | Frau Langer | |
| Alexander Engel | ... | Mad Air Raid Warden | |
| Jim Hutton | ... | Hirschland (as Dana J. Hutton) | |
| Bengt Lindström | ... | Steinbrenner | |
| Wolf Harnisch | ... | Sergeant Muecke | |
| Karl Ludwig Lindt | ... | Dr. Karl Fresenburg | |
| Lisa Helwig | ... | Frau Kleinert | |
| rest of cast listed alphabetically: | |||
| Paul Frees | ... | Several characters (voice) (uncredited) | |
| Alexander Welbat | ... | Otto Binding (uncredited) | |
| Ralf Wolter | ... | Feldmann, the taylor (uncredited) | |
Directed by | |||
| Douglas Sirk | |||
Writing credits(in alphabetical order) | ||
| Orin Jannings | writer | |
| Erich Maria Remarque | novel | |
Produced by | |||
| Robert Arthur | .... | producer | |
Original Music by | |||
| Miklós Rózsa | |||
Cinematography by | |||
| Russell Metty | |||
Film Editing by | |||
| Ted J. Kent | |||
Art Direction by | |||
| Alexander Golitzen | |||
| Alfred Sweeney | |||
Set Decoration by | |||
| Russell A. Gausman | |||
Costume Design by | |||
| Bill Thomas | |||
Makeup Department | |||
| Bud Westmore | .... | makeup artist | |
Production Management | |||
| Norman Deming | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Michael Braun | .... | assistant director | |
| Joseph E. Kenney | .... | assistant director | |
Sound Department | |||
| Leslie I. Carey | .... | sound | |
| Vernon W. Kramer | .... | sound | |
Special Effects by | |||
| Whitey McMahon | .... | special effects | |
| Clifford Stine | .... | special effects | |
Camera and Electrical Department | |||
| Clifford Stine | .... | special photography | |
Music Department | |||
| Eugene Zador | .... | orchestrator (uncredited) | |
Other crew | |||
| Heinz Götze | .... | assistant: Mr. Deming | |
| Herman Ulbricht | .... | technical advisor: military | |
| Eva Ebner | .... | script supervisor (uncredited) | |
| Recent Posts (updated daily) | User |
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| UK DVD | mowgli_07 |
| Finally on DVD, in France | luckard |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb USA section | Add this title to MyMovies |
...in this time of generalizations and terminally low attention spans (not to say inexistent historical memory) people who have been the hollywoodesque cartoonish image of all 1930/40s Germans to be goose-stepping-order-barking-black-uniformed-ss-genocidal-murders could have their insight skills sharpened a bit more by this movie directed by Detlef Sierck (his real name). Actually lots of people in the 3rd Reich must have felt like Sierck himself, who obviously loved his fatherland but hated the Nazis and the way they tried to rape and pervert the very idea of the 'german nation' to their twisted ends...and those who were not lucky enough to expatriate like he did would have lived like the protagonists of this drama, suffering through an unwanted war having to witness both the cruelty of the regime AND the devastations from the war that the regime forced upon its people (the political prisoners forced to clear rubble from the air raids is a TELLING scene indeed!). The only thing that upset me a bit was the censorship forced on the filmmaker which in several scenes has to resort to silly 'visual tricks' to 'avoid' showing swastikas (a tube blocking our sight over the Military Police gorget in one of the first scenes, the queer angle at which a NSDAP member crosses our p.o.v. in the restaurant scene so we can't see the front of his armband)....now think a bit...if a catastrophe strikes and leaves this movie the ONLY proof of semi-historical value regarding WW2 the historians of the future will be oblivious of the centrepiece of nazi imagery...how STUPID is that???
Down with censorship I say, either sexual, political, intellectual et al...