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VERY SUS!!! MURDERER AMONG US?? REFERENCE TO THE IMPOSTER??!?!?!!

"Report for December 24, 1942. Execution. 36 men, 54 women, 31 children, 347 rounds of ammunition"

It's now Berlin, a year after Germany surrendered. The city is little more than destroyed buildings and mountains of uncleared rubble. Susanne Wallner (Hildegarde Knef) has made her way to a crumbing apartment building where she lived before being sent to a concentration camp in 1943. She finds her apartment is now occupied by a man called Hans Mertens (Ernst Wilhelm Borchert). He's withdrawn, depressed, sardonic, and he refuses to leave. She finally says that she is moving in but that he can stay a few days until he finds other quarters. Mertens, it turns out, is a doctor who has lost all desire to do anything but drink. He had been a surgeon assigned to the Germany army in Poland. As he and Susanne tentatively develop feelings for each other, two things happen. He discovers the man who had been the captain of his unit in 1942 is now in Berlin, a happy and confident factory owner, father of two, and untroubled by any war experiences. Ferdinand Brueckner (Arno Paulsen) is a brisk little man with thinning hair, rimless glasses and a small mustache. He tells Mertens, "Every era offers its chances if you find them. Helmets from sauce pans or sauce pans from helmets. It's the same game." Mertens plans to shoot him.

Mertens also is called to help a young girl who is slowly suffocating. He reluctantly identifies himself as a doctor. He does not want to do anything, but knows the girl will die if he doesn't take emergency steps. He winds up realizing a new self-worth in his skills as a doctor. He and Susanne begin a much happier time together. Then Christmas Eve brings back all the memories of an atrocity he tried and failed to stop, and of the captain who gave the order to shoot dozens of hostages while he prepared a Christmas Eve celebration for his officers in a village in Poland. Mertens is determined this time to see that justice is done, and so be it if that means he must be a murderer, too. He finds Brueckner in Brueckner's darkened factory. The conclusion is tense but not without hope.

This sounds almost melodramatic. The Murderers Are Among Us, however, is anything but. The film was the first movie made in Germany after WWII. It's a sad, thoughtful reflection on the crimes Germany committed and on the need for some kind of accountability. Weaving through the sadness of Mertens, however, is the recognition of how important hope is. The movie, itself, is so well photographed and edited that it remains a gripping piece of work. The film was shot in Berlin and all the bombed-out buildings, the rubble and the sight of Berliners struggling to live is real. Director Wolfgang Staudte brings an effective mixture of expressionism and documentary realism to the film. He creates some wonderful scenes of angled stairways, broken windows, low, upward shots and harsh shadows.

And a word about Hildegarde Knef. She has always been one of my favorite actresses. She was an attractive woman but no Hollywood starlet type. She had a long face, a strong mouth, intelligent eyes with a mind you could see working. When she came to La La Land and Hollywood couldn't figure out what to do with her, she shrugged and immediately headed back to Europe, where she became an international star. She had a great success later on Broadway as Ninotchka in Cole Porter's Silk Stockings. She's one of the best reasons for watching The Lost Continent. (Eric Porter is the other.)

Die Mörder sind unter uns is quite the tale, moreso for when the film was made then the actual subject matter itself. Wolfgang Staudte crafted his story to be released in 1946, just a year after World War II had ended. The effects of war and especially the atrocities that occurred in German concentration camps was still very fresh in the minds of survivors and soldiers alike. This film could have been completely polarizing, starting an uprising against those that partook in the Holocaust to acquire revenge. In fact, the original ending was supposed to show one such example of that retribution in blood, but the producers deemed it too powerful and didn't want the responsibility of creating a mob willing to do it for real. The ending that is used instead, one of discovering that revenge will only make your suffering worse—exacerbating the feelings of hopelessness by making one's self a killer as well—works more effectively in my mind because of its psychological underpinnings. How that conclusion is handled is another story, but not one without precedence in the movie. It is tacked on and orchestrated so cleanly and quickly that you just don't believe a word of it. But that is how the entire story plays out, one that is effective emotionally while lacking a lot structurally.

I will grant the filmmakers the benefit of the doubt because they weren't out to get a character study out to the public, they wanted to show the effects of war and how Germany would need to forever live amongst those that killed without remorse for years under Hitler's regime. As a result, the characters are well fleshed out individually with all their problems and idiosyncrasies, but their relationships with each other are stilted and false. How some people know one another can never be explained in certain instances and the fast track comradery between others comes from nowhere at times. Take our two leads, Dr. Mertens, (the man who has taken up residence at a former prisoner's old apartment), and Susanne Wallner, (that returned prisoner looking for home). When she comes back it is with the mindset of residing there again, it was hers. She is not overly possessive as she tells Mertens he may stay until he finds another place, but he will have none of it. This has been his home and since the war ended he has not fully recovered from the Stockholm Syndrome ruling his life. A doctor that can no longer stomach the sight of blood after what he witnessed in the Nazi army, Mertens has found solace in the drink, completely drunk at most times of the day in order to silence the sounds and screams of just a few months previous. So, we go from the two living in separate rooms never to intrude on the other, to he enjoying having a woman around to cook and clean, to the two of them being madly in love with each other. Sure it was a foregone conclusion, but there is no courtship at all, we are just meant to believe it happened behind the scenes.

Now, by having those relationship points glossed over does allow for more time to delve into the meat of the tale. You see, Mertens was a doctor under the command of Captain Brueckner, a man responsible for the deaths of innocent women and children despite his pleas for leniency. Only when the doctor sees his Captain in a field, apparently dying, does he believe the nightmare might be over, God has gotten retribution for him; he will not have to shed blood himself to make up for the loss of those in the camp. In the great coincidental way that movies always seem to possess, the Captain's death is discovered to have been untrue by Susanne, after she finds a letter to his wife amongst Mertens' things. She takes it upon herself to deliver this letter, only finding that Brueckner survived and would love to see the doctor again for he was a steady and reliable comrade. This discovery only drags Mertens down deeper and deeper into his drowning soul, doing whatever he can to stay afloat, only to find that murder of the murderer can be the only way.

The film's style reminded me a lot of Sergei Eisenstein's Battleship Potemkin in its use of montage and transitions. Maybe it was just the stark black and whites and the use of shadow and sharp cuts, but being only 20 years later, in an obliterated nation, I don't think one has to go too far to understand a Russian influence here, especially since they backed the financing. Oftentimes there are some stunning visuals on display too. The use of looming shadows encompassing characters like that at the end or close-ups to portray emotion is effectively handled. What a unique way to express flashback by showing only Borchert's face as his Mertens remembers the killings at the camp. His eyes opened wide, we can only see into his soul while the sounds superimposed express the atrocity he witnessed.

But I also enjoyed the small details of the time period and the authenticity of it all. My friend who showed me the film believes it was shot in Berlin with the real rubble surrounding them as a set. I wouldn't be surprised if she was correct, because it all felt real and was lingered upon often. A favorite character of mind supposedly showed an occupation of the time also, of a psychic/seer. The Lenin-esquire actor performed a service to Herr Mondschein, a man waiting desperately to see his son return home. It is a job to instill hope while also cashing in on the suffering of the weak. An interesting moral compass changer that while nefarious does indeed perform a necessary service.

"Die Mörder sind unter uns" or "The Murderers Are Among Us" is a German black-and-white film from 1946, so this one has its 70th anniversary this year already. Writer and director is Wolfgang Staudte and he sure did not waste any time in trying to begin the German coming to terms with the events of the last 10 years. This one is about a man who fought in World War II, but it plays after the war already and the core of the movie is the man running into one of his commanders from the days of war, a man who instructed him and other soldiers to kill many innocent people, including women and children. In theory, this is a very interesting plot, but somehow I was not too well entertained by this story, not half as much as I hoped I would be.

And then there is, of course, also the story of Hildegard Knef's character. Knef is certainly the most known actress from the cast here and still a name people now in Germany of the 21st century. I am afraid this cannot be said about Staudte or lead actor Wilhelm Borchert. But back to her character: She plays a woman after the war who comes back home from a concentration camp and tries to live a somewhat normal life again. Her character is mostly included to soothe the emotional pain of Borchert's character, but honestly, she did almost absolutely nothing for me. Her story could have been so much more interesting with her character's background and early on she seemed as much of a lead as Borchert, but the longer the film ran, the more her character disappeared out of the focus, only to get in fully again, pretty much out of nowhere, for the climax scene in the end.

I believe the story of these two people had a lot more potential than the filmmaker managed to deliver us here. This could have been one of the truly great films made right afterward World War II, because it was so spot-on with the life at this period and the political impact it had. I also believe the actors, especially the lead actor were better than they could show us here because of the baity script that eventually lacks depth though. This is not a problem of the runtime. The film is fairly short, barely makes it to 80 minutes, but yet lacks focus considerably. I do not recommend "Die Mörder sind unter uns". Thumbs down for this great idea lost in execution.

One part romance, one part thriller, and all parts beautifully crafted, "Die Mörder sind unter uns" is an amazing film that shows what happens to good people when they have to rebuild their lives after traumatic events. This movie resonates with symbolism and is imbued with an almost dream-like quality. But do not be fooled, in a certain way, this movie is about breaking dreams and skin to heal the mind and body underneath.

Ernst Wilhelm plays the sullen and depressed Dr. Mertens. His past occupation as an already reluctant Nazi officer keeps him from continuing his profession as a doctor, and from staying sober. Enter the beautiful and gentle Susanne, played by Hildegard Knef. Having survived her experiences within a concentration camp, though the viewer is never told what those experiences are; Susanne is intent on rebuilding her life and her war-torn apartment. Can these two broken souls heal one another? Watch for the final showdown between Dr. Mertens and his former Nazi superior, Ferdinand Brückner. This showdown, by far one of the most compelling scenes in cinema history, elegantly brings up the issue of justice and "who" is responsible after war atrocities have been committed. What's black and white and red all over? The murderers among us!

This is a very strange movie. It starts with the text insert "Berlin, 1945", which translated to "the same place, but last year" at the time and place of filming. Although Berlin sure was in ruins at the time, everything seems so neat, cosy and tidy here -- it made me wish for those happy days of being bombed out and living hand-to-mouth. Susanne, the concentration camp survivor, is perfectly made up and groomed in every scene. When she returns from the camps and finds the alcoholic misanthrope Dr Mertens squatting in her flat, she naturally falls heels over head in love with him. Dr Mertens has the fetching characteristic of never having to worry about food or fuel, and being able to party every day in nightclubs despite being pennyless. Strangely, most films that came years later managed to paint a more realistic picture of the post-war chaos than the film that was filmed right in the thick of it. There is also a somewhat overwrought old man, Mondschein, waiting for the return of his son from the war.

The movie finally gains momentum when Mertens encounters his former commander, Ferdinand Brückner, who on Christmas eve only a few years ago ordered the execution of a hundred civilians. Brückner is an unscrupulous, jolly bastard, who has always managed to stay on top and is now already a successful entrepreneur. Compared to the other rather ethereal characters of the story, he is truly creepy because he is realistic, remorseless -- and strangely likable. In the original plot, Mertens eventually avenges himself and murders Brückner, but in order not to promote lynch justice, the movie takes a more moderate and open ending.

The movie is very courageous in that it doesn't aim to entertain or send out a positive vibe, but confronts the uncomfortable past head-on and dares to hold up a mirror at its audience, in a way that few, if any, movies have done since. For that, and for its historic value, it deserves twenty out of ten points. Sadly it lacks a bit in suspense. On a side note, its brilliant cinematography and especially the masterly use of shadows was reciprocated in another classic that was filmed two years later, with almost an overload of suspense: The Third Man.

MURDERERS Among US is the first film that was made in Germany after the end or WW 2.

It was made in Berlin amidst all the rubble. The Interior sets look like the actual half ruined apartments. It is in Black & White & exceptionally realistic. It proves one more time,how actually Black & White cinematography can be.

The directer was noted German director Wolfgang Staudte.He & his father Fritz wrote the screenplay. We do not know the meaning of the title until near the end of this 81 minute film. This part is well done but grim.

Hildegard Knef & Ernst Wilhelm Borchert are excellent in the two leading roles, Ms.Knef did make a few American & English movies. To be kind, she had a better career in European films than she had in English speaking roles,

Only reason I cant give this a higher rating is that Ms.Knef looks too healthy to have spent the last 3 years in a concentration camp.

Non-the-less this is still a very worthwhile film & should be seen, one reason being the plot is somewhat similar to the current movie' THE READER.

Ratings: ***1/2 (out of 4) 95 points (out of 100) 9 (out of 10)

This is my second DEFA film, and I have to say that a pattern is developing: the endings have to serve the moral purpose of defending "the good Germans" and offering hope for the future of East Germany. Up until the end, the beautiful cinematography and setting provide a convincing dose of film noir neorealism, which ends up being disrupted by the conclusion. I find it not entirely believable that the good versus evil Germans can so be easily divided into clear groups, as these films suggest...

The film The Murderers are Among Us was the first film to be produced after the Second World War and was also the first film during that period to evaluate the sense of collective guilt among the German people for the atrocities committed in WWII. This film focuses on the character Dr. Mertens, who is a returning soldier after the war. He is plagued by guilt derived from an execution order given by his superior officer, Brückner, which resulted in the death of many women and children. Dr. Mertens eventually finds out that Brückner is still alive and attempts to kill him, however, in the end decides that personal revenge is not the best option, and that wartime offenses are best left punished by the law.

This ending is slightly different from the original (in which Dr. Mertens follows through with Brückner's murder), because the Russian occupying power in Germany at the time of its production called for a more constructive approach. The Russians were the only occupying power in Germany to give consent for this films production, because the other occupying powers felt the German people needed to undergo much more post war re-education before they would be ready to produce films free of propaganda. This film was a great first example to show that the German's were capable of producing a film after the war that was both democratic and humanistic. This film also began a trend of "rubble films". Rubble films, such as this one, employ the use of Berlin's demolished buildings to evoke emotion and add a realistic edge to the setting.

I personally really enjoyed this film, as the use of rubble throughout the film brought a piece of history to life. This film also successfully gave me another impression of Germany post WWII, that being of a more innocent side of Germany that felt guilt for the atrocities of war, and also a Germany that was taking lawful action against guilty parties. I would recommend this film to anyone who is interested in learning more about German history or WWII history, as it realistically portrays the physical and emotional damages of the war, and also, is itself a historically relevant film, marking the beginning of a new age of German cinema.