"No man remains completely himself if a woman is involved."

Even allowing for the understandable reluctance of many to even acknowledge the existence of films made during The Third Reich, one is mystified as to why this little gem has been overlooked by true cinéphiles, especially as it holds the distinction of having been banned by the Nazi censors. Indeed, part of its fascination lies in what it was that offended Goebbels and Co.

It might be that the unshaven armpits of the gorgeous Winnie Markus as Christine were considered too earthy or that Eva Maria Meineke as her flighty friend Anni shockingly admits to her future husband that she might prove to be unfaithful. Herr Goebbels was renowned for his views on the sanctity of marriage despite being a notoriously unfaithful husband and a serial womaniser. The final straw could well have been the depiction of the unsympathetic Krummholz as a dictatorial little man with an Hitlerian moustache. Just a theory of course.

Thankfully the film saw the light of day in 1951 and has acquired non-American sub-titles along the way which is further consolation. It is sensitively directed by Peter Pewas and beautifully shot by Georg Krause, best known for his sweeping camerawork on 'Paths of Glory'. The performance of luminous Winnie Markus lingers longest with its irresistible combination of innocence and sensuality.

Although gratifying to be the first, let us hope this review will not be the last this enchanting film receives.

German cinema is famous for its historical depth, expressionist aesthetics, and social-political engagement. It has moved from Expressionism to political reckoning, from New German Cinema's raw realism to contemporary genre experiments. Its legacy lies in both technical innovation and deep explorations of history, morality, and philosophy.

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The romance genre features the theme of romantic relationships and emotional connections between characters. These stories focus on the development of love, desire, and intimacy between protagonists, often exploring the challenges, conflicts, and triumphs that arise in their relationships.

Ingrid Bergman and Humphrey Bogart in Casablanca (1942)

Christine and Anni are flower saleswomen in a station kiosk. Together, the two young women dwell on dreams of fulfilled love.

Peter Pewas in Der verzauberte Tag (1944)

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Winnie Markus and Hans Stüwe in Der verzauberte Tag (1944)

Winnie Markus in Der verzauberte Tag (1944)

Der verzauberte Tag

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