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Die Mörder sind unter uns, a German film known in English as Murderers Among Us in the United States or The Murderers Are Among Us in the United Kingdom was one of the first post-World War II German films [1] and the first Trümmerfilm. It was produced in 1945/46 in the Althoff Studios in Babelsberg and the Jofa-Ateliers in Johannisthal.
The main focus of his work was to highlight the limits of German national pride. His work in anti-Nazi films, such as Murderers Among Us (1946), was also a personal working-through of his film career under the Nazis (he acted in the anti-Semitic film Jud Süß). Following 1956, he worked in West Germany. By the 1970s, his work was no longer ...
The Murderers Are Among Us – 1946 German film [16] by Wolfgang Staudte about a demobilized Berliner who plans to assassinate his former officer, a war criminal; The Killers – 1946 film by Robert Siodmak about two hitmen, based on the story by Nobel laureate Ernest Hemingway
1946 United States The Stranger: Orson Welles: First feature film to include footage of concentration camps [3] 1946 Germany Die Mörder sind unter uns: Wolfgang Staudte: The first Rubble Film and the first German film to address Nazi atrocities. English title: Murderers Among Us: 1947 Germany Ehe im Schatten: Kurt Maetzig: One of the earliest ...
Her two best known film roles were "Susanne Wallner" in Wolfgang Staudte's film Die Mörder sind unter uns (The Murderers Are Among Us), produced in 1946 by the East German state film company, and the first film released after the Second World War in East Germany; and "Marina" in Die Sünderin (The Sinner), in which she performed a brief nude ...
Stauffenberg, 2004 – about Claus Schenk Graf von Stauffenberg and the 20 July 1944 plot to assassinate Adolf Hitler. Directed by Jo Baier. Die Stunde der Offiziere, 2004 – a semi-documentary movie telling in chronological order about the German resistance attempts to kill Adolf Hitler and seize power in Germany in the July 20 plot of 1944.
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In the film The Murderers Are Among Us, the female protagonist Susanne returns from a concentration camp and is shocked by the misery of Germans in the cities. A common trope in the rubble films is the highlighting of German soldiers' trauma at the expense of relegating the suffering of political and racial enemies of the Third Reich.