Helmut Griem

This Austrian comedy features the lovely, zaftig actress Elfi Eschke. In the story, years ago, while attempting to photograph herself in the nude on a beach, a group of mischevious boys stole her clothes, her camera - everything. A pleasant man who turned out to be rich came to her rescue, and she eventually married him. It is now many years later, and he wants to run for public office. However, for his nudist wife the idea of hanging on his arm while campaigning for him sticks in her craw, and she decides to mount a protest by attempting to shock the staid middle-class folks of Austria with her nude body. ~ Clarke Fountain, All Movie Guide

In this drama, based on a true story and set in 1944, a German war hero attempts to save his country from Hitler's evil schemes by devising a daring plot to overthrow him. ~ Sandra Brennan, All Movie Guide

The first victory in The Second Victory is the Allied triumph in World War II. British major Anthony Andrews, in charge of the occupation troops in a remote Austrian village, must deal with the uncooperative attitude of the locals when one of his men is killed by a deranged Axis soldier. Andrews also pursues a romantic involvement with Birgit Doll, the niece of crooked lawyer Max Von Sydow. The lawyer kills himself when his crimes are revealed, whereupon Birgit, heretofore the only "sympathetic" villager in the film, turns on Andrews, holding the Major responsible for her uncle's death. We strongly suspect that the title The Second Victory was meant to be ironic: Nobody wins in this one. ~ Hal Erickson, All Movie Guide

A man's tragic past leads him to take justice into his own hands in this troubling look at life in Europe after WWII. Max Baumstein (Michel Piccoli) is a well-known human rights activist and avowed pacifist who, to the shock and puzzlement of many, murders a politician from South America. As Baumstein goes to trial, it is revealed that his victim was in fact a Nazi war criminal who ordered the deaths of thousands of people -- including Baumstein's parents. In flashback, Max recalls the horrors of the Nazi occupation of France, and he remembers Elsa Weiner (Romy Schneider), a woman who helped save his life and struggled to free her husband Michel (Helmut Griem) from a concentration camp after he was condemned for publishing anti-fascist literature. La Passante Du Sans-Souci marked the final screen appearance of actress Romy Schneider, who played both Elsa and Baumstein's wife Lina; Schneider died of heart failure shortly after it was released. ~ Mark Deming, All Movie Guide

Injustices and misdemeanors in agencies like the local police and the National Security Bureau (West Germany's equivalent of the American FBI) are featured in this highly politicized drama about Brasch, a teacher (Helmut Griem) and Koerner (Martin Benrath), a NSB agent. A polarized society is, at one end, terrified after a public official (Hanns Martin Schleyer) is kidnapped and at the other end, enraged by the mysterious, sudden deaths of members of the Baader-Meinhof leftist guerrillas in prison. Brasch sympathizes with the liberal causes, and after he implicates Koerner and the NSB in some dirty dealings that resulted in the suicide of a young teen, the schoolteacher is fired -- and so is Koerner for being caught out. Both men react combatively to their dismissals and the drama escalates. ~ Eleanor Mannikka, All Movie Guide

An imaginative, symbolic drama with political overtones, Die Hamburger Krankheit postulates an affliction that is attacking the citizenry in Hamburg and threatening to spread like the bubonic plague. By coincidence, there is a medical conference taking place in the city at the time of the outbreak, and one of the doctors (Helmut Griem) does not agree with the others about how to cure the illness. Then this doctor and several others start heading South, presumably to escape the affliction. Along the way, they encounter many strange events, are stopped by "disinfectant" crews, some are gunned down, and others sell out their ideals. In the end, this undefined affliction could be of the moral variety, or philosophical, or political, or not, adding nuances to the unfolding events. ~ Eleanor Mannikka, All Movie Guide

When a school crashes down around the children inside for no apparent reason, architect Phillip Braun (Helmut Griem) is quickly apprehended and tried for having condoned inferior design and construction of the building. He is sentenced to prison. After he has already served his sentence, his lawyer (who in the meantime has become the lover of Phillip's wife) discovers that the real blame for the incident may lie elsewhere. However, overwhelmed by his passions, Phillip is easy prey for the villain. This psychological crime thriller was based on The Glass Cell by Patricia Highsmith. ~ Clarke Fountain, All Movie Guide

Anna (Aurore Clement) is a film director whose job takes her all over western Europe. In each place she either already has some intimate connection, or readily makes one. People seem drawn to her, but inevitably insist on sharing their inmost secrets and discontents with her, despite her obvious and profound lack of interest in these revelations. This does not deter Anna from continuing to meet people, and she genuinely connects with them occasionally, as when she sees her mother briefly in Brussels. ~ Clarke Fountain, All Movie Guide

With fear and trepidation, the military division encamped in a desert fort await the return of a Tartar army--which attacked the fort years ago. One young soldier (Jacques Perrin), however, can't wait for the boredom to end and the fighting to begin. Ennio Morricone provided the musical score. ~ John Bush, All Movie Guide

Based on the best-selling novel by Nobel-laureate Heinrich Böll, this drama is a passionate indictment of Catholicism. Hans Schnier (Helmut Griem) has earned his living as a clown, though he is in fact a very covert sort of social critic. After enduring a difficult childhood in Bonn during the Second World War, including his mother's fanatic Nazism, he is appalled to discover many of the people he knows and loves swept deeply into involvement in the Catholic Church. His complete estrangement from his family and friends, who are now either bourgeois or passionately Catholic (or both), is demonstrated to him, after he makes a series of efforts to make contact. ~ Clarke Fountain, All Movie Guide

Luchino Visconti (Count don Luchino Visconti di Modrone) was a film director, true, but he was also a nobleman and a grand patron of traditional European culture: opera, art, music, crafts and literature. These interests enliven many of his films, but few have been so inspired as the four-hour epic, Ludwig, about the castle-building "mad king" of Bavaria. This long film, made very near the end of Visconti's life, suffers greatly when shortened, as every moment is essential to the story. There are at least four different versions of the film (from just under three hours to over four hours in length); the uncut four-hour version is the most coherent, even though many might find it rather long. The disintegration of aristocratic individuals is a continuing theme of Visconti's, though Ludwig's is the most thorough decay he filmed. The last ruling king of Bavaria (1845-1886) is noted for many things besides his eccentricities: he sold Bavaria to Germany, ending the rule of the Bavarian monarchy; he built amazing castles all over his country (with the proceeds from the sale); and he was Richard Wagner's main sponsor. He was also a notorious recluse, conducting a lifelong platonic love affair with Empress Elizabeth of Austria, and finally succumbing to his adoration of handsome men in a series of outrageous affairs and orgies. His excesses eventually led to his being declared mentally incompetent and being held prisoner in his own castle. The film depicts this incredible life from his coronation at age 19 to his (unproved) assassination well over 20 years later. ~ Clarke Fountain, All Movie Guide

Originally a 1966 Broadway musical, this groundbreaking Bob Fosse musical was in turn based on Christopher Isherwood's Goodbye to Berlin, previously dramatized for stage and screen as I Am a Camera with Julie Harris as Sally Bowles. Fosse uses the decadent and vulgar cabaret as a mirror image of German society sliding toward the Nazis, and this intertwining of entertainment with social history marked a new step forward for the movie musical. Michael York plays a British writer who comes to Berlin in the early 1930s in hopes of becoming a teacher. He makes the acquaintance of flamboyant American entertainer Sally Bowles, played by Liza Minnelli. Sally works at the Kit Kat Klub, a George Grosz-like Berlin cabaret where each night the smirking, androgynous Master of Ceremonies (Joel Grey) introduces a jazz-driven "girlie show" to his debauched audience. Virtually all the film's musical numbers are staged within the confines of the Kit Kat Klub, and each song comments on the plot and on Germany's "progression" from hedonism to Hitlerism. Most of the Broadway score by John Kander and Fred Ebb was retained, with the welcome addition of "The Money Song." Although it lost Best Picture to The Godfather, Cabaret won eight Oscars, including awards to Minnelli, Grey, and Fosse. A heavily expurgated 88-minute version of Cabaret has been prepared for commercial TV presentations, regarded by many as dramatically inferior to the full cut. ~ Hal Erickson, All Movie Guide