Black Gravel

Near the fictional village of Sohnen in the Hunsrück region is a large American military base. The inhabitants are critical of the soldiers stationed there, but earn well from them. Nightclubs and prostitution are booming, as is the black market. Truck driver Robert Neidhardt smuggles gravel at night and lives in a rather casual relationship with prostitute Elli. When he returns from a trip one evening, he helps US General John Gaines tow away his car. By chance he meets John's wife Inge, with whom he had a love affair a few years ago, before the two lost sight of each other. Inge has a good and safe life by John's side, but Robert doesn't let go and draws Inge back under his spell. Inge is fascinated by Robert's easy-going life and oscillates between her safe home and a freer life. When Robert accidentally runs over two of his friends and the police are looking for the culprit, a catastrophe is brewing.

The intention of director Helmut Käutner was to make a film that is close to the people including calculated taboo breaks. The portrayal of prostitution, black market trade and moral decay in Black Gravel did not fit at all into the time of the economic miracle. The safe and good life of Inge stands in stark contrast to that of Robert. A stirring drama of strong intensity.

Premiere Version and Theatrical Version on German Blu-ray

After its premiere on April 13, 1961 in Stuttgart, the Central Council of Jews in Germany filed criminal charges against Helmut Käutner, production manager Walter Ulbrich as well as UFA studio boss Theo Osterwind, because in a scene in the bar the host, a former concentration camp prisoner, is insulted as a "Saujud" by the guest Rössler. The supposed anti-Semitism was thereby misunderstood, since Käutner addresses in the scene the anti-Semitism that still exists in society. The shocked reaction of the guests and Rössler's saddened reaction make clear how the scene is to be interpreted. Although the criminal charges were dropped, UFA felt compelled to revise the film. For the Theatrical Version, various references to the Third Reich were removed. One no longer learns that the host was a former concentration camp inmate from Mauthausen. Mentions of the word "jew" were removed from the film, including the previously mentioned insult.

On the other hand, a new scene was inserted in which Elli has to wait at Mrs. Marbach's garden gate because she is an undesirable person, just like refugees and Americans. Since Bill is allowed to enter her garden, she explains that he belongs to the family after all. The scene is an adequate substitute for the cut scene in the bar, since the prejudices of the population are also addressed here.

Concorde's German Blu-ray features both versions of the film, including an audio commentary by Olaf Möller. An informative booklet goes into detail about the making of the film. A highly recommended release. In the US, a Blu-ray was also released by Kino Lorber in which both versions including the audio commentary are included.

Runtimes:

Theatrical Version: 112:34 min.
Premiere version: 114:34 min.

Comparison between the Theatrical Version and the Premiere Version.

Note: we used the German audio track for this comparison and translated the dialogs verbatim for the translation of this article. Therefore, it's possible that it may vary a little from the English original in terms of wording.

[00:00:21][00:00:21]

The Premiere and Theatrical Version begin with a slightly different text note about how the versions came to be.

Theatrical Version: 27 sec.
PF: 39 sec.


[00:10:58][00:11:10]

At the bar, Krahne and the host look to Robert and the host says some more "An American Yidd from Vienna." before Krahne asks "Who's he pulling in again?". In the next shot, Robert and Inge are seen earlier.

PF: 9 sec.


[00:26:07][00:26:28]

After Bill and Annie walk down the street and fade out, the Theatrical Version fades back in. The kids are seen earlier at the football game.

Theatrical Version: 9 secs.


[00:45:41][00:45:54]

In the Theatrical Version, the scene at the construction site continues even further.

Site manager: "Some people have been watching this."
John: "I don't think anything will come of it."

A ball hits Inge, who then drops her cup. The children run towards her.

Site manager: "Can't you wait until the square is finished?"
Child: "It'll never be finished, mister."

After that, Elli is seen passing by a small garden. Bill and Anni are watching soccer on TV, while Krahne is looking at a picture with Mrs. Marbach. Krahne asks if Elli can come into the garden, but Mrs. Marbach weighs in. She doesn't want such people in her garden, just like refugees and Americans. Krahne looks at Bill, then Mrs. Marbach says that Anni and Bill are relatives, which is something else. Aloud she asks what Elli should buy besides sweets and laxative pills.

Roger comes by and asks for the score. He asks Elli why she doesn't go in. Elli says she's in a good spot here. Anni and Bill leave. Bill thanks her, then Mrs. Marbach says that the bride and groom want to be alone. Elli starts to laugh. Krahne shows Robert pictures of his relatives in Canada. Robert thinks about how his name is pronounced in Canada. Krahne wonders why Robert is interested in Canada. Robert leaves, Elli walks a bit with him and asks if he would take her to Canada. Robert reacts irritably that he is not going to Canada. Elli runs after Robert, then it fades to the sign.

In the premiere version, it fades directly from Inge to the sign.

Theatrical Version: 3:07 min.
PR: 1 sec.


[01:13:01][01:10:07]

Krahne is seen longer after saying that he is a "bloody German civilian". The next shot starts earlier. At the same time he adds "...not even a jew".

PR: 2 secs.


[01:22:19][01:19:27]

The host asks the woman how Sunday went. She says that she has seen a bigger dwarf before. The host says that after Mauthausen all dwarfs are big. His wife says that Saturday went well. She wants to know when they will finally get out of here.

PF: 12 secs.


[01:27:26][01:24:47]

The Theatrical Version fades from Robert to the bar.

In the premiere version, the scene begins earlier. Rössler is standing at the jukebox from which marching music is playing. A Yank yells across the room to turn off the damn music. The host comes up to him and tells him to put on another record.

Theatrical Version: 1 sec.
PF: 15 sec.


[01:27:50][01:25:25]

The innkeeper turns off the jukebox and is insulted by Rössler as "Saujud" (roughly translated to "pig jew"). The guests in the pub are silent and look around.

PF: 11 sec.


[01:27:51][01:25:38]

The host turns the jukebox back on, showing his concentration camp number on his arm. Affected, Rössler walks away. One of the Yanks yells to turn off the Nazi music. The host goes to his wife.

Robert leaves the bar and looks at Elli, who is stroking the hair of a homesick soldier.

After Robert sets down the toolbox, the Theatrical Version resumes. In the Theatrical Version, you can hear the marching music throughout the scene.

PF: 33 secs.


[01:34:01][01:32:21]

The Theatrical Version is missing a cut to the injured arm of the host. At the same time, his concentration camp number can be seen.

PF: 2 secs.


[01:50:31][01:48:53]

After Robert drives away, Inge looks after him in the Theatrical Version, then fades to the shovel.

In the premiere version, Inge walks alongside the truck and tries to get in. As she tries to open the door, she slips and falls to the ground. Robert stops, runs to her and sees that she is dead. Then it fades to the shovel.

Theatrical Version: 10 sec.
PF: 26 sec.


[01:52:00][01:50:39]

The Theatrical Version slowly fades out as Robert drives his truck into the fog. The credits of the restored version follow.

The truck can still be seen in the premiere version.

The camera moves over the construction site. As it does so, the dead dog can be seen. Robert stops there with his truck and carries the dead Inge into the pit. With his jacket, he covers her face. He tilts his truck so that Inge is buried under the gravel. When Robert sees this, he rushes to her and is also buried under the gravel. The camera pans up as a jet fighter flies over the pit. To black screen, the song "Fräulein Schmidt" by Billy Sanders can be heard.

The restoration credits follow.

Theatrical Version: 34 secs.
PF: 3:45 min.