Günther Simon,Hans-Peter Minetti,卡拉·龙克尔,Paul R. Henker,Hans Wehrl,Karl Brenk,Gerd Wehr,Walter Martin,Theo Shall,Georges Stanescu,尼古拉·克留奇科夫,Carla Hoffmann,Angela Brunner,Erich Franz,Erika Dunkelmann,Raimund Schelcher,米歇尔·皮科利,Wilhelm Koch-Hooge,Kurt Dunkelmann,Otto Krone,Fritz Diez,Erich Brauer,Walter Jupé,维尔纳·彼得斯,Hans-Peter Thielen,Werner Pledath,Hannes Fischer,哈里·里鲍尔,Heinz Kögel,Walter Niklaus,Jean Brahn,弗雷德·德尔马尔,Adolf Fischer,Hans W. Hamacher,Horst Kube,Fred Mahr,沃纳·森夫特莱本,Steffie Spira,Hermann Stetza,Friedrich Teitge,Will van Deeg,Egon Vogel,Karl-Heinz Weiß,格里·沃尔夫
非常严肃的现实主义悲剧
Positioned at the abyss that divides the past from the present and invested equally in the myths of national cinema and the rewriting of its history, the two films to be discussed are ideally suited to articulate some of the complexities of postwar cinema, including the audience’s desire to forget as well as preserve and the psychological needs of a society haunted by what has been called “the inability to mourn.”//Hake, S. Popular cinema of the Third Reich[M]. University of Texas Press, 2010: 213.
在纳粹政权崛起的背景下，《暗影中的婚姻》以梅塔和约阿希姆·戈特沙尔克的悲惨真实故事为蓝本