User reviews

If you want to get the feel of life in East Germany and of life in the 70s, this is your film. It is critical of the socialist system (national socialism ended in 1945, afterwards there was no Nazi-propaganda anywhere anymore, especially not in the East! Sorry, but another reviewer got this wrong), offers a romantic story and good acting by well-known actors. It is still cult in Berlin, where you can regularly see in the cinema. It kicked off the wave of east-German nostalgia. The film was so successful that today you can still see references to it in other films (eg. "Sonnenallee") and that the city decided to name a path along a lake "Paul und Paula Ufer" with a Paul und Paula bench to sit on. Also the soundtrack is worth listening to (especially the lyrics) and marked the beginning of the Puhdys'huge career.

The Legend of Paul and Paula seems simple yet not boring. However, the film has profound ideas to tell – gender roles, social inequality and escapism. I like the film's way portraying of everyday life in East Berlin. You can almost see and feel the city. The love story between a passionate single mother and a complacent, married bureaucrat is not your typical Hollywood movie. The film also has a psychedelic and hippie feel. The soundtrack suits the film. I like the portions of the film where some elements (like the band that plays music while Paul and Paula are making love) are placed for no reason. The movie has a simple charm that captivates audiences. I guess that the film's success lies in its way of making the ordinary scenes of life extraordinary.

Heiner Carow's "Die Legende von Paul und Paula" is the first GDR film I've watched which centered on a woman and her development as an individual, which was new to DEFA within that period of time. "Die Legende..." is different from other films made before it since the story was about a woman who seeks for self-fulfillment and follows her heart in spite of the rigidity of societal norms.

In this film, Paula is the epitome of what women were mostly portrayed as in the 1970s: emotional rather than rational.

Paula is a quirk of a character. She wears her heart on her sleeve and cares not one bit what happens as long as she is happy. She seems a bit over the edge at some points in the film, though. As if she were about to break down at a moment's notice. Her character is intense and Angelica Dumrose fully consummates the part.

"Die Legende von Paul und Paula" (1973), co-written and directed by Heiner Carow, is a famous film in Germany. The story seems tame enough now--a young woman is dissatisfied with her life and takes active steps to improve it.

Angelica Domröse plays Paula, a single mother who has a dead-end job and no social life. Winfried Glatzeder portrays Paul, who is unhappily married and is drawn to the free-spirited Paula. (Glatzeder has been called East Germany's Jean-Paul Belmondo. He didn't look much like Belmondo, and wouldn't have struck me as leading man material. However, I don't know enough about East German cinema to be aware of his competition.)

I've been told that the reason for this film's popularity in East Germany was because it contained subtle criticism of the regime, as well as depicting some PG-13 sex. I know East German films were subject to strict censorship, and, as in any similar regime, directors inserted criticisms in ways that were necessarily very indirect and symbolic.

The problem is that this movie only works if you can think of how you would have viewed it in East Berlin in 1973. I don't believe it's strong enough to succeed on its own merits in 2006.

This picture, which has been shown in East Germany for only a week until political censors understood its impact on the people, is a very realistic East German view of life in post war East Berlin. It's mainly about the romance of Paul, a privileged but unhappy secret service agent, and Paula, an underprivileged and single girl with children. Since it is one of the very few movies which portraits honest details of real life in East Berlin at that time, it now serves as a reminder of emotions and feelings for a lot of East Germans. Despite the heavy use of symbolism (pretty old houses are blown away for the construction of uniform socialist buildings) it still doesn't draw a too pessimistic picture and leaves space for dreams and hope. I really love this movie, and I would recommend it to anyone who wants to catch a glimpse idea of how life was at that time in a socialistic system. The film is available with English subtitles which gives foreigners the chance to understand it, too.

Die Legende von Paul und Paula captures the spirit of the changes and upheavals of the late 1960ies / early 1970ies upheaval like no other film. Outstanding acting and the on-screen chemistry between Angelica Domröse and Winfried Glatzeder (basically they're the Brangelina of early 1970ies East Germany) make up for the movie's slow and somewhat inane first third, and some dated flourishes such as the Sergeant Pepper-style scene on the barge. The movie manages to convey that the GDR wasn't the worker's paradise many like to remember it as, without ever being in-your-face type of critical.

Unlike some reviewers have hinted, the movie was never banned in the GDR, although it can't have been popular with the party big whigs. In fact it was even the most popular homegrown movie on the other side of the wall.

It's kind of weird. Angelica Domröse speaks in the movie of a Banana and why it's bent, yet she as an actress has probably never seen one. Also her parents most likely chose her name 'Angelica' (note: the name is spelt 'Angelika' in any German-speaking country) to mock the Soviet system and give credit to the American way of life. Just like pretty much anyone else in the GDR (note: if ever you meet a girl in Europe named 'Doreen', 'Melissa' or 'Mandy', it's pretty safe to say that she's from East Germany).

Pretty much all of the home appliances shown are authentic, yet they had to introduce coffee and cosmetics (which didn't really exist in the GDR at that time) to make it suitable for the political demagogues. Imagine it: the fact that there is a sentence in English ("excuse me, only one glass for you") could have led to a total ban of the entire movie.

What else is there to say? Try to understand the lyrics of the Band 'Puhdys' featured manifold in this flick and the in-between-the-lines-messages and how this was important to get thoughts of freedom past the GDR's government's census.

Well you guys probably don't and will never understand what kind of fruit GDR's socialism sprouted, but watching 'Paul and Paula' could theoretically help you get at least a glimpse.

This is a film from the time when you only saw Trabant (GDR-made) and Volga (Soviet-made) cars on the streets. It is a sad love story, set among the ruins of old German houses and the new blocks of socialism. In the soundtrack we hear some songs by the band from DDR Die Puhdys, unfortunately not the best from their repertoire, actually some very bad, they having some really excellent ones, being the most valuable rock band in communist Germany. For a film made in that period, when in countries like GDR, Poland, Romania, Bulgaria, Czechoslovakia, Hungary, Albania the films were nothing but communist propaganda, this film is a real exception, being very libertine, something inexplicable how it got away of the fierce censorship of the regime. In Yugoslavia the situation was different, they were much freer. And, there were bolder films in Hungary, Poland, Romania, but they were banned soon after release or scenes were cut. Angelica Domröse plays a role full of courage, totally unconventional for the politics behind the iron curtain. Scenes of sex and alcohol consumption could not be seen in those films of communist countries where everyone had to appear happy, without problems, living a wonderful life, in a perfect society, where children were brought by storks, not being the fruit of a sexual act between a man and a woman.

This film is a fascinating artifact to watch, and I use my language carefully there. This is perhaps not a film with as much current meaning and significance as other pieces of German cinema, but when watched as an artifact of how it might have felt to live in East Germany in the 70s (not to suggest that Paul and Paula themselves are necessary the model), it is a fascinating and interesting watch. Of course, within this, I do not seek to reduce it simply to a piece of history, it is art, entertaining and beautifully done, but I do think one needs to watch from the perspective of an East German in the 70s.

What does this entail? It entails watching not for a simple critique of East Germany and socialism. It entails watching not for a love story. It entails watching not to fulfil some preconceived notion of what is right and what is wrong. Instead, one must seek to go beyond these simple conclusions. I'm not the one to say what this film means, and that is precisely my point. When this film was released East Germany was far behind its Western counterpart in terms of economic development. Socialism was not achieving what it desired. It's easy in that light to jump to conclusions right away about what the film means. Instead of doing that, ask why Erich Honecker, leader of East Germany, would have personally allowed this film to be shown? Ask why this film was (and still is to many) beloved by East Germans. My point is, this film is more than one thing, equally critical as it is optimistic, equally a love story as it is a Shakespearian tragedy, and equally compelling as it is confusing.

Give it a watch, you may not like it (I only gave it a 7), but it is incredibly rich.

Paul and Paula go through life picking the wrong partners until they happen to hook up with each other and the legend begins. Low-budget German film has the look of a cheesy porno movie. The script is pretty standard boy-meets-girl story. The acting by Domrose (as Paula, who seems to work in an amazingly busy grocery store or something and has wild mood swings) and Glatzeder (as the goofy Paul) is not bad, considering the clichéd characters they are playing. The direction is amateurish, with incongruous shots of buildings being demolished thrown in. The soundtrack is filled with bad German pop songs, although it is interesting that they get the lyrics to rhyme even after translating to English.