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A Time to Love and a Time to Die (1958)

A German soldier home on leave falls in love with a girl, then returns to World War II.

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5 Comments

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JohnnyLee T 04 May 2016

Conventional approach to WW2 drama, except told from the German side. Largely spoilt by John Gavin's wooden acting. Jock Mahoney would have been better in the lead, not in a bit part. Keenan Wynn lifts it whenever he appears. Directed by German, based on German book. Author has small part. He sums up his philosophy as need to believe in God. (Believe it if you want!)

U.N. O 21 Jun 2011

Douglas Sirk's little seen Nazi extravaganza. Imagine: WRITTEN ON THE WIND with brown shirts!

Art S 08 May 2010

All I can say is, if you dig classic films and don't know Douglas Sirk, you need to learn about him now! Great over dramatic romance set in the waining days of WWII from a German officer's perspective. Great classic Hollywood stuff!

Ben G 18 Oct 2009

Creating a sympathetic view of Germans is done more successfully in All Quiet on the Western Front, perhaps because that war doesn't have such awful baggage with it. Still, Sirk manages fairly well. There are few surprises here, it's your typical "the human side of war" story. But it's handled deftly... though the Technicolor occasionally threatens to beautify things too much, for the most part it's kept in check. Bonus point for a brief appearance by Klaus Kinski, in one of his earliest roles.

Mark B 15 Mar 2013

Take the aesthetics of tear-jerking movies like Imitation of Life or Magnificent Obsession, set them on the Russian Front and in Germany in 1944, and you get some idea of this film. A melange of melodrama, camp, death, and a short appearance by Klaus Kinski as a heartless Gestapo clerk, ATTLAATOD is actually a pretty good film. Especially weird is to see those loveable mugs, the Wehrmacht , dealing with Russian partisans. The truly fun part of the film happens when Ernst Graeber goes home on leave and makes time with good girl Elizabeth Kruse. Every time they go on a date, the USAAF bombs the shit out of them. And of course there are the symbolic characters like Joseph, the hiding hateless Jew, and the Heine, the infantile piano prodigy who happens to burn people alive at his own concentration camp. Still, though, I liked this movie a lot. Nothing else liked appeared in American films until Peckinpaugh's Cross of Iron in 1977. Whatever else you want to say about Sirk, he used the widescreen to great effect,