Comradeship (1931) User Reviews

German film merged with the style of Italian Neo-Realism

[planktonrules · 9/10 · 30 December 2006]

This film, along with WESTFRONT 1918, are my favorite Pabst-directed films and I enjoyed them more than his much more famous films which starred Louise Brooks (such as PANDORA'S BOX). It's probably because both are very similar to the Neo-Realist films that the Italians perfected in the 1940s and 50s. This style film called for using non-actors (just typical folks) in everyday settings in order to create intensely involving and realistic films.

In this case, the film is about French and German coal miners, so appropriately, the people in the roles seem like miners--not actors. The central conflict as the film begins is that there is a huge mine located on the Franco-German border. Instead of one big mine, it is divided at the border and German workers are not welcome in the French mine, despite there being greater unemployment in Germany. This, language differences (illustrated wonderfully in a dance hall scene) and WWI conspire to create a huge rift between the factions--resulting in a WE vs. THEY mentality. Later, an explosion causes a huge collapse in the French and the Germans refuse to sit back and do nothing. Risking their own lives, they prove that there is true comradeship between miners and men in general.

The film is a strong criticism of xenophobia and tried, in vain, to get the German audiences to see the futility of war and hatred. It was a gorgeously moving film with some of the scariest and claustrophobic images I have ever seen. Considering history, though, the film's impact was minimal at best. It's a real shame, as like this one, WESTFRONT 1918, JÁACCUSE (Gance) and ALL QUIET ON THE WESTERN FRONT (Milestone) had great messages of peace and harmony but ultimately were failures in positively swaying public opinion. So, from a historical point of view, it's an amazing and sad relic that is well worth seeing.

A friend in need is a friend in deed

[mdm-11 · 9/10 · 27 May 2005]

Based on an actual mining disaster, this early German talkie (with English subtitles) still remains one of the most effective docu-dramas ever filmed. Featuring many non-professional actors, "Kameradschaft" gives a chilling view of the friendship that binds the mine workers, regardless of which side of the French/German border they may be from. A deadly accident brings out the very best in everyone, nullifying any superiors' orders. A fellow miner in need will receive the help of his comrades, even at threat of great loss, including life.

This film reminds of the self-sacrificing heroism shown by the NYFD following the 9/11 attacks. Putting aside any formal rules and regulations, these men and women in uniform knew only one cause: to save lives, and to find their fellow-fire fighters. -- More than 70 years later, "Kameradschaft" still has the strong and timeless message: A friend in need is a friend in deed.

Technically superb

[otradisneylandia · 9/10 · 29 November 2013]

The special effects are top notch, very superior to the Hollywood standards of its time (just compare this film to "San Francisco", made five years later). Most reviewers write about how realistic this film is, but the mine interior was entirely recreated in studio. And it looks like a real claustrophobic coal mine. Amazing! Technically it is superb. About the story and the message a lot has been said, so no need to repeat how good and necessary this film was. I saw it with the epilogue sequence included. Sad end, but it is realistic in this point too. Good intentions meet the old dark forces. Just read Oscar Wilde's "The young king". Its end is even more pessimistic. At least, Pabst opens a door to fight and hope. The closed frontier is only an advice: beware! the fight won't be easy.

A MASTERWORK.

[rsoonsa · 10/10 · 5 September 2004]

This, the finest achievement from Georg Wilhelm Pabst's Social Realism period is based upon a tragedy in early 1906 that claimed the lives of nearly 1100 French miners as a coal dust explosion deep in mines at Courrieres in northern France took place after a fire had smouldered for three weeks, eventually releasing deadly pit gas that brought about the fatalities. Estimable designer Erno Metzner creates stark sets that simulate the tragedy, providing a perception of reality, augmented by matchless sound editing, with the only music being produced by integral orchestras during the beginning and ending portions of a work for which aural effects possess equal importance with the eminent director's fascinating visual compositions. Pabst's manner of "invisible editing" that segues action from shot to shot through movements of players proves to be smoothly integrated within this landmark film that also showcases sublime cinematography utilizing cameras mounted upon vehicles, enabling the director to shift amid scenes without having a necessity of cutting. Although the work's cardinal theme relates to Socialist dogma, the unforgettable power of this film is held in its details, born of Pabst's nonpareil skill at weaving numerous plot lines into a cinema tapestry that stirs one to admiration for German rescue squads of whom their Fatherland is greatly proud while no less despairing of disastrous losses to the families of French victims; certainly, a seminal triumph fully as stimulating today to a cineaste as it was at the time of its first release.

Masterpiece of Work in 1931

[whpratt1 · 10/10 · 12 November 2005]

The name of this film alone made me want to see just what it was all about, so I taped this film during the early hours of the AM. If you ever wanted to see what miners had to go through during the early days and actually see a dramatic scene when the mine crumbles in on the men. This film clearly wants to show that Germany and France can work together and be friends after WW I and how the Germans came to the aid of the French miners much to the unbelief of the French townsfolk. The actors were all outstanding, with unusual scenes in the mine with a horse and a small young boy who worked in the mine. There is an old old retired miner who manges to go down the mine by ladder when the elevator breaks down. If you are a real film buff, this is a film you will not want to miss.

Pabst delivers yet again.

[theskulI42 · 7/10 · 31 August 2008]

Sentimental and naive but undeniably affecting, emotional man-helping-man plea, in this case personified as German and French miners forced to be closed off from each other after the Great War thanks to a new border, leading to disillusionment on the German side, as the French are the bosses. But when a fire begins on the French side, the common decency of the German men lead to assistance, safety and even friendship. This was a plea that would fall on deaf ears within the decade, as a certain man from Pabst's own side would break that piece and turn the Great War into merely a prelude. But it is obvious to me that Pabst really believes or at least wants to hope for this kind of fundamental humanism, as this film radiates with this optimism whereas his more flippant, cynical adaptation of The Threepenny Opera lacked the bite needed to make that work work. Also furthering his honest belief are the fact that the characters here are not simplistic mouthpieces for positions, but real people, with real families whose home lives we are privy to as well. These are ordinary, working-class men who just happen to believe in the worth of caring and treating right your fellow man, and in this day of individualist opportunism, I'll take a little thinning in my plot to get a positive message that represents a point of view that I think we can all aspire to.

(Note: Apparently the ending is cut on most prints, where the French rebuild the mining gate, closing off the men once again. This is a brutal turn of events, and may have made the film a better overall film, but I would have lamented it souring the positives vibes of the final sequence, so in short, I'm glad it was clipped.) {Grade: 8/10 (B) / #7 (of 11) of 1931}

Brilliant...

[jrichmon-2 · 10/10 · 11 December 2006]

Valliant effort to use a mining catastrophe as a vehicle to pronounce this director's distaste for war. The audience not only learns a great deal about early mining rescue procedures but, we learn that Europeans at the interval between WWI and WWII, had concerning pacifists(for lack of a better term). The speeches given by both representatives of each country at the end of the film, are inspiring given the time. Although the revised edition, through the transfer technology of early foreign films, "cuts-off characters heads" at times, this film holds it's own in many different aspects. Character analysis, lighting techniques, historical content and a scenario that has tested and inspired many a writer and filmmaker.

Pabst went on to Direct and put to screen Weil & Brecht's "Three Penny Opera", starring the original star, Lotte Lenya.

An early film about a catastrophe (in a coal mine)

[eabakkum · 8/10 · 31 January 2011]

This is another excellent film of director Pabst. Apparently the story is based on true events, which makes it even more interesting. It is nice to see as a main character Ernst Busch, the German singer of protest songs and a predecessor of Woody Guthry and Bob Dylan. But first of all, it is a film about a catastrophe, with lots of suspension. This time it is not a failing airplane, a sinking ship or a burning skyscraper, but an underground coal mine. The underlying theme is also fascinating and in fact quite simple, namely the international solidarity among miners. The actual realization of this solidarity is another matter, and the film highlights the tension between hostility and collective interests on all levels. The stage is the borderland between France and Germany just after the First World War. Clearly there is still a lot of animosity between the two countrymen, even though the decision to declare war had been made on a governmental level (but why did the people cooperate?). The regional coal field is exploited by a French mine and an adjacent German one. The French part is afflicted by gas pockets, and eventually a huge explosion occurs, which leaves many French miners trapped. The subsequent rescue operation requires special equipment, notably oxygen masks. The German miners realize the general shortage of such equipment, and spontaneously send their own rescue teams to the disaster area. There are some original features, such as the underground gates separating the German and French galleries. The shots actually give you the feeling of being present in the mine (and this is even more supported by the black-and-white display). We witness the miserable life of the miners and their families, in general, and not restricted to just the times of disaster. Then, after the completion of the rescue operation there is a fraternization between all the miners. "Pitman is pitman". Another interesting feature about this film is its cultural kinship with the later Bolshewist films, notably the ones from East-Germany (for instance Sonnensucher, about a uranium mine). A not so hidden message is that workers are mostly good and leaders are usually corrupt. Now there is some truth in the existence of professional deformations, but the Bolshewist film makers transformed it into a blatant dogma. Pabst manages to mediate the message in a credible form without creating caricatures. So in my opinion it is an enjoyable and historically important film. A documentary akin to Kameradschaft and about the same period is "Ellende in de Borinage", of Joris Ivens. You can also consider Germinal, Subterra, Matewan, or the more recent Harlan County War. If you like social films, consider seeing my other reviews.

A Masterpiece With A Message

[atlasmb · 9/10 · 5 October 2015]

Fire and collapse threaten the lives of hundreds of French miners in this B&W masterpiece released in 1931. Director Pabst uses the occasion of the collapse as a statement against war. Despite animosities between France and Germany, some German miners assemble a rescue team, cross the border and go underground to aid those trapped below.

The film is amazing in its depiction of mining--the claustrophobic working conditions, the dusty blackness, the danger. The verisimilitude is so convincing that it feels like actors must have been at risk themselves.

Despite language differences and the fears that war promulgates, French and German teams manage to save numerous miners. During the hours that the rescue efforts are being undertaken, the film depicts various points of view and brings together a number of subplots: a grandfather who fears for his grandson trapped in the mine; the townspeople united by their common fears and helpless feelings; a woman who longs to leave behind the inevitable heartbreaks that life in a mining town offers, but is drawn back by her love; the German miners who recognize their commonalities with the miners on the other side of the border.

This is an important story, reminding the viewer that humanity should always trump nationality.

Beautiful to Look At

[Michael_Elliott · 25 February 2008]

Kameradschaft (1931)

*** (out of 4)

German propaganda film which is based on a true incident that happened in 1906 but the film updates the setting to current day 1931. Tensions are running high between French and German miners until the French suffer an explosion and several miners are trapped underground. The German's send in two rescue teams to try and save the French. This is a highly impressive film but like a lot of German films in this period, there's more style than substance, which in the end keeps it from being a great film. The visual style of the film is terrific and it makes the film come off very realistic. The director does a great job inside the mine and the claustrophobic sense we get is very strong. There are countless great shots in the film but I feel they get in the way of the story, which at times drags in certain spots. After the explosion happens there's a good fifteen-minutes of downtime before the rescue team shows up and these down moments come off pretty boring. Outside of that the film is very good and it was also interesting seeing how miners worked back in the 1930s.

Good message does not make a good movie

[Horst_In_Translation · 4/10 · 11 March 2016]

"Kameradschaft" or "Grubentragödie" or "Comradeship" is a German 85-minute sound film from 1931, so it has its 85th anniversary already this year. I don't think I know any of the cast, but director Georg Wilhelm Pabst is fairly known, even today still almost a century later. This film was made between the two World Wars of the 20th century and focuses on comradeship between French and German miners when one groups helps out the other as they are in deadly danger being stuck under the earth. And it is not just about this and about the idea of helping others in need no matter where they come from, but there are scenes early on as well, in which the two groups get along well despite their different nationalities, for example at a party or one group warning the other of a fire. Professional solidarity is more important than xenophobia. You can probably imagine very well what the Nazis thought of this concept and film.

Unfortunately, this black-and-white film does not elaborate convincingly on this pretty interesting premise. Quite a shame as there really was the possibility of a fairly great film here. But none of the characters and the plot in details turned out interesting. You can't blame one person or group for that, but as a whole it just didn't work out. Oh yeah, this film is listed as French here, but I am not sure about that. The language was almost exclusively German in the version I saw. The director is German and so are the writers. The actors with the most screen time are all German too as the film focuses on the German perspective of the tragedy. So if you speak German, you won't need subtitles, at least not for the version I saw. If you are French or English or anything else, subtitles will be a great help. Then again, you should not really watch the film anyway. Not a particularly rewarding watch and I do not recommend it.

Kameradschaft-Translation:Comradeship.

[morrison-dylan-fan · 9/10 · 16 March 2014]

With having recently picked up the wonderful Spanish Neo-Realism (N-R) film Mi Tio Jacinto on DVD for a friend's Easter present,I felt that it would be a good idea to track down a German N-R title so that he could hopefully have an exciting Neo-Realism double bill,which led to me getting ready to enter the mines of German Neo-Realism.

The plot:

Based right on the boarder of northern France and Germany,a coal mine is dug up by groups of French and German miners.Despite being based right next to each other,the French and German miners never join forces due to there being apartheid,which goes from walls being built in the mine to separate the groups,to dance halls having one section for the German's,and one section for the French.

Ignoring an increasing risk of firers breaking out by building walls to close off the dangerous areas,a large group of French miner's discover that they have unintentionally dug a bit too deep,which leads to a huge fire being covering a huge section of the mine,and causing it to cave in.Attempting to rescue the trapped miners,the French miners discover that they do not have the right equipment,which leads to them strongly fearing that the trapped miners will have to be left there.

Hearing the screams of terror from across the boarder,the German miners begin to fear that something terrible has happened.Feeling unsure about what to do next,the miners all gradually decide that, 'A miner is a miner,no matter where he comes from',and decide to take a huge risk,by crossing over the boarder,in the hope of getting the trapped miners out safely.

View on the film:

Making rough thumb nail sketches of the miners which are not overly detailed,so that the audience can place themselves in the miners shoes, the screenplay by Anna Gmeyner,Peter Martin Lampel,Karl Otten,Gerbert Rappaport,Leon Werth and Ladislaus Vajda clearly takes a real life event (from 1906) and places it in a modern era to show the direction that Germany could take in avoiding WWII.

Avoiding the risk of making the film's message overly idealistic,the writer's display the hellish conditions that the unlikely alliance of the miners rises from,with all of the miners ignoring the serious risks of fires,and also the fact that hardly any of the coal can be sold,thanks to the huge level of debt that hit post-WWI Germany,due to this being the only job available in town.Along with revealing the amazing bravery of each miner,the writers contrast the heroism with a surprisingly sharp-tooth ending,which sadly shows that everything comes 'full circle'.

Shooting on what appears to be a real location,director Georg Wilhelm Pabst superbly shows the nightmare conditions which the screenplay builds,with Pabst covering the entire background of the movie with mountains of unsold coal which are lit up by a hellish fire that turns the mine into a vicious horror.Along with covering the title in raw,gritty blacks & greys,Pabst also teams up with sound editor Adolf Jansen to build a number of extremely dazzling set pieces,which go from a gang of trapped miners searching for a phone,to the tapping of pipes leading to a French miner experiencing a terrifying flashback to WWI.

Rising out of the ashes,Pabst displays the heroic rescue in the film with a real precision,thanks to Pabst revealing that he is not afraid to 'pause' the title so that the viewer can fully soak in the extraordinary atmosphere of the titles most compassionate scenes,as Pabst shows that comradeship,not war,is the mine that should continue being dug.

"Les Allemands? Ce n'est pas possible!"

[brogmiller · 9/10 · 3 May 2023]

Regarded by many as the highpoint of German socialist film-making this fourteenth film of G. W. Pabst is a companion piece to his earlier 'Westfront 1918'.

Based upon the mining disaster at Courrieres in 1906, the director has cleverly chosen to set his film in the mining communities on the Lorraine/Saar border just after the end of the first World War which enables him to show the tensions and mutual distrust between top dog France and underdog Germany.

What strikes one most about Pabst's film are the claustrophobic mine galleries which have been built from scratch in the studio by Erno Metzner and which facilitate the roving camera and effective lighting of the legendary Fritz Arno Wagner whilst Pabst's mastery of crowd scenes is put to stunning use in its depiction of mass anguish.

Viewers will no doubt spot Alexander Granach who was to flee Germany for America and Ernst Busch, an avowed Communist who survived despite being on the Nazi hit list.

This sober, restrained masterpiece with its naively optimistic plea for international brotherhood, although critically well received, was unsurprisingly disdained by both French and German audiences.

The final, symbolic scene in which the iron barrier between the French and German mines is re-established in the presence of stern looking military officials is not only grotesquely ironic but gives dreadful note of the horrors to come.

Another little known treasure of a film

[Chirofun · 10/10 · 1 July 2013]

I already know that I can't add anything to those who have already reviewed this film...and why not , you say??? Because I saw it about 30 years ago on VHS and haven't seen it since, so I would be woefully remiss on the details. YET....I NEVER forgot it and have told NUMEROUS people to REMEMBER THE NAME (back in my day it was "Kameradschaft" and not "Comradeship" as it is "known" today) in case by some chance SOMEWHERE they may stumble upon it. I, myself, "stumbled upon it" in the foreign films section of the video store, and I had never seen it anywhere since until a few used VHS tapes came onto Amazon. The only reason I picked it up was because it was from something like Janus Films or the Criterion Collection or something of the sort, and I figured if it were from 1931 and they obviously "re-issued" it, then it must be pretty decent. So I read the liner notes on the back of the box (because they're always so perfectly accurate in their critique of the film...please note heavy sarcasm) and it seemed like a very interesting premise. I was sold enough to give it a shot. It remains one of the films I STILL talk about to this very day, and even tried listing it on my Facebook profile, but of course, Facebook apparently never heard of it either, and there was no cover page, so I had to list it as one of my favorite films with a picture of a strip of film instead of a cover. LOL. Anyway...I digress.

Here's the main reason I'm writing. Something I saw on TV tonight triggered my memory of this film, so I decided to see what IMDb reviewers had to say about it...ALL 9 OF THEM. Sheesh, I wish we could get the word out. Be that as it may, I was happy to see how it got such good reviews. Now here's the REAL reason I'm writing...one of the reviewers wrote...and here's the spoiler alert "(Note: Apparently the ending is cut on most prints, where the French rebuild the mining gate, closing off the men once again. This is a brutal turn of events, and may have made the film a better overall film, but I would have lamented it souring the positives vibes of the final sequence, so in short, I'm glad it was clipped.)". I have no beef with the reviewer because I can see how he or she could feel that way. However, I, myself DID find the ending of the ONLY version of the film I have seen (where they DID "close off" the connection of the two mines once again) to be the major STRENGTH of the film, and I was SHOCKED that it had been "cut" from later versions. To me, it DID make it a better overall film, because the ending seemed AMAZINGLY profound to me, and one I NEVER forgot. Although the "upbeat" ending will appeal to many, I thought the original ending was EXTREMELY POWERFUL because I just shook my head in sad disbelief that the wall was shown being sealed off again (not even a "gate", but rather a large steel opaque plate). I took this as the filmmaker's way of adding a really stunning "twist" to the plot, and at the same time, saying "WAKE UP, PEOPLE!!! DON'T YOU SEE WHAT JERKS YOU ARE BEING???" And to me, THAT is what both impressed me about the screenplay AND moved me emotionally (although there were PLENTY of emotionally moving scenes in this film) all in one jaw-dropping brief final shot (did I really just see what I thought I saw???)

So...I'm happy to provide another good review for this film (in whatever version you see), and I hope my take on the ending is food for thought.

Old school story with universal appeal

[raskimono · 9/10 · 7 November 2005]

Those French and those Germans sure have a long history of not liking each other. It is interesting to note that Kamerdaschaft or Comradeship in translation takes place in 1931. Only a few years later, Hitler would siege Germany and begin his plans to take over the world, France being a casualty of his ambitions. But these are times of sereneness compared to the future. A group of miners at the border try to cross over to France to get work. They are spurned back and later at a nightclub by their French neighbors. Then a disaster happens in the mines of the French and a well-crafted and written scene, a troupe of German miners decide to come to the rescue. A simple story is it not? Pabst was a poet of silent cinema and I am not sure if this is his first sound movie or not, but his poetry is there to be discovered. He isn't fussy but brings a rugged realism to the ordeal. Ther is even a flashback to a WWII event that beckons the point of this story. Supposedly based on a real event, the movie does the events proudly with directness and terseness. Smetimes, that's what a movie needs to be.

Probably one of the first films of the disaster genre

[AlsExGal · 8/10 · 26 December 2023]

Based on an event which occurred in 1906 concerning a mine disaster in France, the story has been updated to shortly after the Great War with the disaster now occurring in a mine that is French on one side and German on the other. Overall the picture serves as an anti-war, for co-operation between nations, message. This message is not laid on thick and cleverly forms part of the story. It is though, brought home very accurately and succinctly in the final scene.

One would hardly think that the scenery of "darn the pits" would be of much entertainment value, but this story is probably one of the first in the 'disaster genre'. The underground mine sets have been realistically re-created and one certainly gets a sense of feeling claustrophobic from watching what occurs there. It would appear that a lot of research has gone into the making of this film as everything about it seems natural and starkly real. A further emphasis on this realism is that the Germans speak German and the French speak French.

There are some who say that there were non-professional actors in this film, and the fact that they do so well in their parts conveying the very awfulness of their job has probably brought forth this opinion. The script too is not labored, and the dialogue only gives punctuation when necessary to the action. The direction by Pabst can only be described as brilliant. His crowd scenes are well composed, and the camera is given much fluidity whilst the cutting appears seamless.

In short, this is a dramatic film that looks totally real, has a high degree of excitement throughout, is well acted and beautifully photographed.

Who Doesn't Love Comradeship?

[view_and_review · 10/10 · 3 September 2022]

Foreign films are where it's at for 1931. They were consistently good: "M," "Tabu," "Girls in Uniform," and "Comradeship."

"Comradeship" is based upon the historic Courrieres mining disaster of March 1906 where 1200 French miners were buried alive and Germans came to help. I don't know what German-French relations were like in 1906, but I do know they soured by WWI and were even worse during WWII. "Comradeship" is merely based upon the 1906 disaster, but took place in the present day (1931) which meant that this film was consciously trying to show a unified France and Germany as opposed to a fighting France and Germany.

The fictitious Thibault mine had an explosion and a cave-in which trapped 600 French miners. German miners could see smoke from the Thibault mine on their side of the border. One German boldly proclaimed that he was going over to France to help the trapped miners in spite of whatever feud existed between the two countries. "A miner is a miner," he said, and we can extend that to mean a human being is a human being. HIs determination lit a fuse under the other miners who joined him in the rescue effort though it meant blowing through French customs.

I loved the plot, but that was easy. Who doesn't love a movie about comradeship, partnership, and lending a helping hand, especially to a person or people who were considered foes? I also loved the production. It looked like a big budget movie with the set, the pyrotechnics, the crumbling cave, and the many extras used. It was a 1931 disaster movie.

The combination of props, set design, coordination and plot were masterful. Everyone loves people putting aside their differences in order to come together for things that are more important like human lives. A movie like "Comradeship" will always be celebrated so long as it's not done in a pedantic, exaggerated, pour it on thick, look-at-me-I'm-promoting-unity type of way like a Kardashian Pepsi commercial. Nor can it be done in a patronistic savior way where the outsider hero joins the feuding natives ala "Avatar." Let the movie unfold naturally, let the human kindness rise to the surface organically as "Comradeship" did and you're sure to have admirers.

HBO Max.

Not a film but a hammer that blowed the wall of cultural and national differences because Humanity doesn't know any cast and nationality.

[SAMTHEBESTEST · 8/10 · 2 March 2021]

Kameradschaft / Comradeship (1931) : Brief Review -

Not a film but a hammer that blowed the wall of cultural and national differences because Humanity doesn't know any cast and nationality. Kameradschaft is a fine example of stone-breaking attempt through one of the most powerful medium called Cinema. It's not a film, i mean I would hate to consider it just as a film and rather would like it to be noted as a cultural phenomena that breaks the walls of nationalism. If this isn't enough then not to forget that Kameradschaft is the greatest combination of expressionism and neo-realism ever appeared on silver screen. Kameradschaft is a Plea against war and for friendship between peoples, through the story of French miners rescued by German colleagues after a firedamp explosion. With the help of gripping narrative it sends out a strong message of humanity and unity beyond cultural and national differences. And then the neo-realism strikes to blow your mind with noir impact of the bitter truth. This is by far the best and the most important film of G W Pabts's career for me. His earlier acclaimed films like 'Pandora's Box' and 'Diary Of A Lost Girl' still had few shortcomings in my opinion but i don't see any such thing with Kameradschaft so i don't mind calling it a Classic (what i didn't call to those 2 films). The cast list is long and i don't think it will be fair to name any single name just to pick as the best and all the actors are fine by the way. The screenplay is little slow in the beginning but that didn't seem like a problem as the runtime didn't strech any useless elements in those engaging 88 minutes. It has a powerful dialogues and the shocking references from the reality of inhumanity people did carry that time hence the hard-hitting values are up by a level. Overall, a mind-blowing lesson on Humanity with artistic expressions.

RATING - 8/10*

By - #samthebestest

Humanity and conflict

[TheLittleSongbird · 9/10 · 10 July 2020]

The story, based on a 1906 mining disaster while being set in the WW1 aftermath, sounded really interesting. Have grown to highly appreciate, and even love, German cinema (whether silent or sound). One of the masters and major influences of German cinema being GW Pabst, justifiably lauded but deserves to be better known in general. His films always looked wonderful with some of the best editing in film when active and his films handled difficult subject matters very realistically.

Among Pabst's best and most powerful films in 'Kameradschaft'. It may not have his pioneering directing of actresses he found and developed their skills or how he dealt with the fears, dangers and conflicts of his female characters. What 'Kameradschaft' does have however is his usual seamless editing that few other directors at the time excelled this well at and his pioneering street realism. Few directors that started their careers in silent films transitioned well into sound, although his best work was in silents Pabst did transition well.

'Kameradschaft' is not quite a masterpiece but it nearly is. Some of the downtime moments drag on a bit.

Otherwise, 'Kameradschaft' is wonderful. Especially excelling in the production values, its emotional impact and how it handled its subject. Lets begin with how the film looks, which is nothing short of amazing. The cinematography is a marvel, full of expressive style and haunting atmosphere that enhances the human fragility and conflict better than any other film did at the time. The use of light and montage is pretty ingenious and adds so much to the mood. The seamless editing that Pabst's films became known for is on full display here, nothing stilted or static about it at all when some early talkies did have this problem.

Pabst's direction also can't be faulted. It creates a sense of tense uneasiness without ever being ill at ease, handling a harrowing subject and executing it in a very moving and pulling no punches fashion. Scenes are uncompromisingly claustrophobic. The film, in setting and story execution, feels very realistic, Pabst's unique street realism is on full display, the sets may be studio sets but they are also very handsome and evocative (the cinematography and lighting enhancing them) and the period and setting also feels authentic.

It is a very thoughtfully scripted film and the story is one that doesn't hold back or shy away from showing the impact of something so disastrous and it still shocks and moves. The message is sincerely delivered, didn't feel heavy-handed and is hardly irrelevant today. Some may feel that the ending jars tonally, to me it struck me as very profound. The performances are natural and don't get histrionic, but it's the visuals and the emotional power that stays with you.

Wonderful film overall. 9/10

"Glück Auf!"

[chand-suhas · 8/10 · 10 April 2024]

Based on the 1906 Courrières mine disaster, Comradeship re-tells the events that occurred during the rescue mission by upholding the fact that humanity triumphs over borders. After the cold dust Explosion traps the miners at the France's side, the German rescue team comes to their aide after realizing there aren't enough rescuers. The political difference, the world war impact is just not enough for the brave men to come for each other's help and the film celebrates this comradeship. The Director G. W. Pabst sets his story post world war 1.

There are certain lost reels especially the important reel in the climax but kudos to the restoration team which salvaged the German version. This is truly a remarkable film and that entire sentiment behind "a miner is a miner, irrespective of the war and the governments separating us" and that one doesn't need an adversity to come together for one another, hits hard. Director G. W. Pabst is clear in his narrative and there are no particular lead hero in this story as everyone gets equal importance, be it the French and German rescuers or the miners trapped inside, trying their best to survive.

Just as relevant now as it was back then

[jordondave-28085 · 8/10 · 14 September 2023]

(1931) Kameradschaft (In German and French with English subtitles) DRAMA / SOCIAL COMMENTARY

Another film unapproved by Hitler and the Nazis regime, where the film showcases coal mining in the hey days between France and Germany which after the first World War had ended ended but with hostility coming from both sides, especially about employment etc... until an unfortunate coal mining incident reuniting two countries on opposite sides and the dilemmas that come with it! At the beginning of this film showcases a German boy squabbling with a French boy about marbles and the two fathers on opposite sides asking each of them to make up, then the story skips to the coal mining workers- this scene was echoed again on Sam Peckinpah's critically acclaimed Western film "The Wild Bunch" which like this film serves some relevance as the film progresses! Although, still very standard film about coal mining and the story might seem to be cliche, it's still quite interesting about the kind of equipment used and things that used to happen back in those days when digging coal was a lot harder! Also consider is the fact that the time when this film was made, it was based on an actual incident, just after when the Germans and the French were at war with one another during WWII! And while watching this, also reminded me about the 33 saved Chilean miners who were trapped underground in August 2010, and were finally saved involving several countries!