Germany Year Zero (1948)

This film was without a doubt one of the most difficult films I have ever seen. The directing is very much Neorealist, and as such presents a very objective view of the devastation in post-war Germany and the lives of the people therein. I experienced what the characters went through, and grew numb and tired of the harsh reality of such a ravaged world right along with them. In the character of Edmund (main character) is presented a dark individual fallen victim to the consequences of war within a country, and as I as the audience witnessed the desperation of his life I was, dare I say, almost forced to disconnect myself from the experience. Disconcerting on a masterful level. I highly recommend this movie to anyone interested in being probed to examine and challenge their natural response to tragedy.

Fmovies: Rossellini's films just after World War II are to be appreciated as both social comment and for artistic advancement in the matter of film. This film, like no other, deals with Germany as a vanquished nation, driven downward toward annihilation. Edmund, a young boy, made to beggar himself in order to survive, gives one of the truly authentic portraits of youth driven to despair ever seen on the screen.

How used to sentimentality we Americans had become by the time Rossellini made this desolate vision of a destroyed post-war Europe.

How coddled and led astray were we by image after image of dimpled, freckled kids clutching hold of their pets. Children the likes of Mickey Rooney or Dean Stockwell. How engaging...and yet how unreal.

Edmund isn't just a child, we learn. But more so, a country.

A nation bombed into rubble and tasting its own ashes. Stripped of everything of any value and reduced to zero. Rejected by everyone and forced into murder...in the end made to stare death in the face.

Germany YEAR ZERO will shock you. Make you wince as the tragedy of a nation corrupted unfolds, and self-destructs.

Edmund is no longer just a boy made to suffer in a world he never made. In the end he's our conscience.

this is at times an incredibly painful movie to watch as rosselini portrays the struggle of ordinary germans to survive the devastation of post war berlin and rebuild their lives. the protagonist is a 12 year old boy whose childhood has been stolen by war - he tries to live up to the responsibilities that are forced on him but it's all too much for a skinny little boy to handle. the desperation depicted in this movie really shows the horrors of war for all people - even the ones who initiate it and lose. this is a remarkably compassionate film - i cannot recommend it highly enough. 10 stars.

Germany Year Zero fmovies. An intricate web was weaved with the lives of post World War Two's deprived people amongst the reins of Berlin, Germany and that of mans ultimate struggle for survival. That web is the work of Italian film maker, Roberto Rossellini. His final installation of the war trilogy, beginning with Open City (1945), follow by Paisà (1946), ended with an amazing expression of talent from behind the camera and in front. What is not to be forgotten from the film Germany Year Zero (1947-8) is that time in history when people lived `as if tragedy was natural'. We watch as the social infection of survival of the fittest works its way into the life of a twelve year old, German boy named Edmund Koeler (played by Edmund Moeschke). The challenge of survival begins its grip on young Edmund as a result of dealing with life in post-war consequences. The simply desperate life of Edmund and his family was further brought to life with the cinematography that gives shape to the psychological states of it characters through stylized visuals land marking the film noir derived from German expressionism. Along with several dehumanizing high angle shots, the shadowy look into this family's life makes for a powerful film, as well as a powerful message.

This is the third film in Rossellini's war trilogy; the other 2 films are Roma citta' aperta (Rome Open City) and Paisa. I thought this film was of the same quality as Paisa. Rossellini continues to use the same sort of staging and neorealist style as before. It's interesting to see the footage of (mostly destroyed) Berlin... It's interesting to see how a director from a country that was once allied with Nazi Germany decides to portray postwar life in Germany. A bleak film, but very Rossellini-ish: children as important characters, sexual perversion equated with moral turpitude, the telescoped-in time frame. As in his first film, Roma citta' aperta, Rossellini provides an intense story. Neorealism can sound dry--and some of the neorealist films were rather depressing and not exactly fun to watch--but this film is definitely more than watchable.

This masterpiece, filmed while the action and subject matter of the film, was at its most intense, is a must see. Featuring non-professional actors, in the neo-realist style which defined post-war Italian cinema, you will experience a lyrical view of Germany, actually devastated Berlin. This is how it was at Hour Zero, or "Anno Zero" when new currency was introduced, and the economy started again from scratch with each German receiving the same (very little) cash to rebuild their lives, and indeed their country. The film has magnificent scenes including the voice of Adolf Hitler coming from a record player among the ruins of the Chancellery, deaths in gutted buildings, and several especially poignant scenes of the young boy who has known nothing but misery during his few years of life, yet continues his fight to survive.