BERLIN 1953 [Main Title]

Metadata

Title: BERLIN 1953 [Main Title]
Film Number: MGH 7212
Other titles:
Summary: Unique black and white amateur footage of Berlin in 1953, with commentary (original version with music soundtrack), illustrating the long shadow cast over people and landscapes by war and the differing impact of predominant ideologies as they seek to rebuild. Focusing on both lesser-known and well-recognised landmarks of Berlin, and featuring the various inhabitants of a divided city in the early Cold War years. [Please note: For further information and to enquire about accessing the original version with music soundtrack please contact IWM Image and Film Licensing].
Description: Opening titles overlaying map graphic of divided Berlin, shown split between the Allied powers of Britain, America and France in the West, and the Soviet Union in the East, in the early years of the Cold War. The civil flag of Berlin flaps on a flagpole in the wind. Commentary relays that Berlin lies in ruins after the ravages of the Second World War, while the legacy of architectural rubble is shown. General views of people and activity at Potsdamer Platz, now a largely derelict transport terminus, on the borders of the British, American and Soviet sectors. Commentary explains that the East German authorities have diverted traffic away from here, to avoid the western sectors. The ruins of Kaiser Wilhelm Church in West Berlin, which was significantly damaged during the Second World War; its ornate internal carvings and detail now exposed to the elements. The church, in its destroyed state, still provides a landmark at one end of one of Berlin’s now bustling streets. Lined with cinemas, it has been rebuilt with American aid. Smartly-dressed men and women are seen walking their dogs, sitting in cafes and browsing items they can presumably afford to buy, including American-inspired trinkets like Disney ‘Mickey Mouse’ toys. Newsagents sell papers and magazines with aspirational images and features on western personalities like Marilyn Monroe on their front covers; newsstands bring an air of Hollywood style to this corner of Berlin. Children are clothed in fashionable attire, some pushed along in modern prams. Shots of the biggest department store in West Berlin, where fine art adorns the shop windows, are contrasted with shots of the biggest department store in East Berlin in Alexanderplatz. While prices in such stores may be high in West Berlin, commentary explains that they are completely beyond the pocket of the working population in East Berlin. General views of streets and architecture in the Soviet sector, focusing on the post-war rebuilding programme which has taken place in Stalin Avenue. Commentary states that such a programme of regeneration was only made possible because “every Easterner was forced to give 10% of his earnings towards it”. Nothing is quite what it seems, commentary hints; what appears to be a marble exterior on some buildings, in the distinctive Soviet style, is in fact a cheap plastic facade. The same type of material was used to make an otherwise seemingly stone statue of Stalin, briefly shown. Following shots of a Union Jack emblazoned sign ‘You Are Now Entering The British Sector’, tired East Berliners are shown coming to the western sector with suitcases and bags, intent on collecting food parcels. Such an exchange of aid is taking place in the shadow of one of Berlin’s town halls, from which a ‘freedom bell’ tolls every midday. Groups of people are shown gathered around food produce and goods. At the Tempelhof centre, commentary points out that a hand placed over the camera - obscuring the view of a woman turning to look directly at the filmmaker - is that of a policeman; the implication being that the recording of such images is not welcomed. The film then focuses on West Berlin’s architectural landscape and landmarks. Cheerful music introduces the Sommergarten am Funkturm, Berlin’s ‘own Eiffel Tower’. The structure is seen first from the ground, followed by the uninterrupted aerial views of the cityscape following ascent of the tower. The road infrastructure and busy pedestrian walkways below bustle with activity. Focus shifts to the nearby Reichschancellorplatz where exteriors of the Russian controlled radio station are shown. Commentary explains that, from here, Communist propaganda was sent out from the very heart of the British sector, until 1950. Shots down Charlottenburg High Road, which was used by Nazi official Hermann Goering during the Second World War as a small aerodrome. It was also used as a parade ground by Hitler, from which to address troops. Today, smart buildings sit amid leafy surroundings, including the Schiller Theater, the most modern theatre in Berlin. The Victory Monument is shown, with traffic flowing either side, guarded by stone statues, and its history referenced. A Russian war memorial to those who died in the Battle of Berlin is briefly seen, located next to the burnt-out shell of the Reichstag, now sitting within the British sector. Without its significance being specifically referenced in commentary, the Straße des 17 Juni road sign nonetheless significantly flashes momentarily on screen; newly named as such in 1953 in reference to an East German uprising which had been brutally suppressed. A parting shot of the Brandenburg Gate and sign ‘You Are Now Leaving British Sector’ mark the end of this segment on West Berlin. Soundtrack changes herald a shift in focus towards East Berlin. Crowds are seen at the Garden of Remembrance, which commemorates Russian soldiers killed in the Battle of Berlin. The grand stone entrance and stone tablets are shown in ornate detail. Here five hundred Russian soldiers lay buried beneath a statue of a Russian soldier and child. Scenery changes to a gentle waterway with small boats and occasional shots of workers, while commentary explains “Although the 'People’s Police' rule the Eastern sector with a hand of iron, the one link remaining between the four sectors is provided by the four waterways of the city”. On the canals, boats from East and West Berlin work side by side, and trade can take place, set aside from politics. Jaunty music returns the focus to West Berlin and introduces shots of busy roadways and some unusual vehicles. A horse and trailer pull a heavy load, followed by another, although horses on the road are rare. Shots of cyclists and well-dressed pedestrians, with their pets in tow, are out enjoying Saturday leisure time. Sheltering from wet weather, they don’t let the rain dampen spirits. The pace of life at the weekend is slow for young and for old. There is plenty to do, commentary insists; signs advertise world-famous figure skater Sonja Henie and jazz musician Stan Kenton, both of whom are due to perform at the Sportpalast indoor arena. West Berliners in their Sunday best are seen making their way to church, some walking, some in shiny vehicles, and some waiting among the masses to join already-heaving trams. Cyclists and motorcyclists are also out in force on the roads. A ‘Coca Cola’ drinks stall shows off its wares to passers-by. One man fixes a bicycle puncture. Traffic is regulated by smartly attired Verkehrs-Polizei (traffic police). A double decker bus full of people goes past, adorned with adverts for German brand ‘Persil’. This section of the city is a hive of activity and its inhabitants are enjoying themselves; one family of nine, squashed into their open top car, drive past smiling for the camera, while two young women are transported in the back of a truck, enjoying the open air. The theme of recreation continues, this time through the Grunewald to one of Berlin’s lakes. A group mainly consisting of young non-German students, mainly men in suits, with a couple of young women, take a trip on a tourist boat. Sightseeing is accompanied by amateur photography, animated conversation and the swigging of beverages in bottles. One man intensely studies a map. Sail boats pass by and a plethora of different types of boats make an appearance, sharing the water. Campers and their tents are seen on the shoreline, along with an unidentified grand building and a pavilion. As the students disembark, commentary ponders how they will get out of the Russian zone completely surrounding Berlin; the solution being Tempelhof airport. Exterior shots of the airport and the Berlin Airlift Memorial. Concluding footage of East Berlin and architecture in various states of dereliction. Nearly forty percent of people in Berlin live in the Soviet sector, commentary states, and in some cases over ninety percent of the buildings are totally destroyed; “the path to total recovery is indeed a long one”. The fact that the air corridors remain open enables “the people of the free world” to see for themselves the division which exists in Berlin and a separation which has changed every horizon. A sense of uncertainty is conveyed in the commentary, hinting that this will only continue as long as these air corridors remain open. Skyscapes and city horizons close the film with a final message; that Berlin in 1953 is a “city with a past in ruins and a future half hidden behind the Iron Curtain”.
Alternative Title:
Colour:
Digitised: Yes
Object_Number: MGH 7212
Sound:
Featured Period: 1949-2000
Production Date: 1953-1953
Production Country:
Production Details:Yeomans, John
Personalities, Units and Organisations:
Keywords:
Physical Characteristics:
Technical Details:Running time: 17 minutes
HD Media:Yes
Link to IWM Collections page:
Related IWM Collections Objects:

BERLIN 1953 [Main Title]

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