Nothing New in the West (1930)

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Movie
German title nothing new in the West
Original title All Quiet on the Western Front
Country of production United States
original language English
Publishing year 1930
length 136 minutes
Age rating FSK 12
Rod
Director Lewis Milestone
script Maxwell Anderson ,
George Abbott ,
Del Andrews
production Carl Laemmle Jr. for
Universal Pictures
music David Broekman
camera Arthur Edeson
cut Edgar Adams
occupation
synchronization

Nothing new in the West is an American anti-war film by Lewis Milestone from 1930. It was based on the anti-war novel of the same name by Erich Maria Remarque . The main roles played Lew Ayres and Louis Wolheim .

The film, which won two Academy Awards, is considered one of the most famous and impressive anti-war films and has a reputation as a classic. Since many cinemas were not yet geared towards talkies at the time, it was released in both a silent and a sound film version. Nothing new in the west is one of the first films dubbed for the German market . Because of his pacifist attitude and the portrayal of hopeless German soldiers, he was particularly hostile to right-wing organizations in Germany. The film is about the cruel experiences of the young volunteer Paul Bäumer and his comrades in the First World War.

plot

At the beginning of the First World War , there was a euphoric mood in the German Reich that was certain of victory, which also affected the school class of high school student Paul Bäumer. Your extremely nationalisticHiring teacher Kantorek describes the “merits” of heroic death and “dying for the fatherland” to the class in a fiery speech and asks his students to volunteer for the army. During Kantorek's haunting speeches, the students get the impression that the life of a soldier is something beautiful and worth striving for, but they have no idea of ​​real life at the front. Paul and his class finally signed up to volunteer for the army. Your positive mood already experiences during the harassing basic training by the reserve sergeantHimmelstoss, who was a friendly postman in civil life, put a damper on it. Himmelstoss lets them march and wade in the mud for hours, also when he uses it to spoil their last free time before leaving for the front. In order to take revenge on Himmelstoss, the group beats up the drunk militarist at night after going to a pub.

When they arrive at the front by train, the comrades are immediately frightened by a bomb attack. Paul and six of his classmates are on the trainassigned to Lieutenant Bertinck. There you will meet the experienced combatant Stanislaus "Kat" Katczinski and other experienced soldiers who have been at the front for a long time and have to help the newcomers. Instead of money, barter is flourishing at the front, and food in particular is scarce. The young soldiers are supposed to pull barbed wires with Kat on their first mission at the front, but they are discovered and shot at by the enemy. Paul's classmate Behn, who actually didn't want to go to war, but was changed by his classmates, is hit by a shrapnel, whereupon he goes blind and shortly afterwards bleeds to death. When his former classmate, Franz Kemmerich Behn, tries to save him, Kat rebukes him for this recklessness. The soldiers are increasingly having nightmares and states of fear, even at night they cannot rest because explosions can be heard and rats are running around. Plagued by feelings of guilt and under the impression of the explosions, Kemmerich runs unconscious from the bunker and is hit by an impact. After some time in a makeshift hospital bed with overwhelmed doctors, Kemmerich dies. His fine boots are passed on to other classmates and change hands several times because they are wounded or die immediately. After some time in a makeshift hospital bed with overwhelmed doctors, Kemmerich dies. His fine boots are passed on to other classmates and change hands several times because they are wounded or die immediately. After some time in a makeshift hospital bed with overwhelmed doctors, Kemmerich dies. His fine boots are passed on to other classmates and change hands several times because they are wounded or die immediately.

In the hard battles of positional warfare, despite high losses, no progress can be made; the Germans and French fight each other on a status quo. In addition, the food supply is extremely poor, among other things because the cook does not want to come to the front with his food. One day, Himmelstoss was also transferred to the front, although with his militaristic demeanor he only looked like a joke to the now battle-tested soldiers and was himself afraid of the front. During an attack on a cemetery, Paul wounds a French soldier with a knife, but he has to hide from enemy soldiers in a hole in the ground next to the slowly dying Frenchman. Paul tries to help the French soldier with water, who ultimately dies anyway. Before Paul can return to the German soldiers, he asks the dead Frenchman for forgiveness.

A little later, Paul and his friend Albert are seriously wounded in a French attack. Albert's leg is amputated in the Catholic hospital, while Paul is brought to the “death room” (from which no patient has allegedly ever come back alive). Against all odds, however, Paul returns from the dying room and leaves the hospital, while Albert, beaten by fate, has to stay there. During the subsequent home leavePaul talks to his father's regulars' table friends who unsuspectingly argue about which section of the front should make the decisive advance. Bäumer, disturbed, visits his old school, where his former, nationalist teacher Kantorek wants to portray him as an example of “German heroism”. But Bäumer talks about the front without make-up and describes it as a mistake to ever have gone to war. The high school students present scold him for this. Disappointed by the impressions at home, he voluntarily returned to the front.

There he has to learn that many of his comrades have already fallen. One, the farmer Detering, who wanted to help his wife with the harvest, was arrested as a deserter. Paul locates Katczinski, who falls when a low-flying aircraft attacks. The company is replenished by very young and semi-trained men who are mercilessly burned. In the last scene - autumn 1918, a few days before the end of the war - Paul reaches for a butterfly in front of his machine-gun position and is shot by a French sniper.

synchronization

There are four dubbed versions of the film:

  • When it was first released in Germany in 1930, the film was dubbed by Rhythmographie GmbH in Berlin. The synchronized version was originally about 124 minutes long, but was shortened to 85 minutes for the theatrical release in June 1931.
  • In 1952 a second synchronization was made, which was created on the basis of a version of the film shortened to 120 minutes. Josef Wolf wrote the dialogues for Ultra-Film GmbH .
  • In 1984 the ZDF had the film dubbed for the third time after an elaborate reconstruction by the Berlin-based synchronizer Wenzel Lüdecke . The script and dialogue direction were in the hands of Ottokar Runze . Jürgen Labenski was responsible for the reconstruction . The longest German version was created at 135 minutes, based on the original script.
  • In the 1990s, the 1952 version was restored by WDR and attached to the longer ZDF version. The missing scenes in this version were filled in with the 1984 synchronization.
  • Another reconstruction of the original film was carried out by the film department of the library of the US Congress and the American cable channel AMC in the mid-1990s . It was broadcast for the first time on June 5, 1998. In 2005, another dubbed version for the DVD edition of the film was released, which was also released on Blu-ray. Compared to the ZDF version, this 128-minute version has been shortened in some scenes and only shows more material at one point.
role actor Voice actor (1952) Voice actor (1984) Voice actor (2005)
Paul Bäumer Lew Ayres Sebastian Fischer Stephan Schwartz Manuel Straube
Stanislaus Kaczinski Louis Wolheim Erich Dunskus Franz-Otto Kruger Hartmut Neugebauer
Himmelstoss John Wray Clemens Hasse Hermann Ebeling Reinhard Glemnitz
Professor Kantorek Arnold Lucy Paul Bildt Hans Hessling Fred Maire
Franz Kemmerich Ben Alexander Eckart Dux Oliver Rohrbeck Dirk Meyer
Albert Kropp William Bakewell Paul Edwin Roth Benjamin Völz
Müller Russell Gleason Christian Toberentz Philipp Brammer
Westhus Richard Alexander Franz Nicklisch Edgar Ott
Tjaden Slim Summerville Carl Heinz Carell Herbert Stass Thomas Rauscher
Joseph Hammacher Heinie Conklin Otto Sander
Empty Scott Kolk Herbert Stass
Mr. Mayer, regular uncle Edmund Breese Manfred Meurer
Lt. Bertinck G. Pat Collins Kurt Waitzmann
Soldier's car driver Fred Zinnemann Heinz Petruo Claus Jurichs
Chronicler (only in German version) Wolf Ackva Ernst Wilhelm Borchert

Production history

Pre-production

Carl Laemmle Sr. , the founder and boss of the film studio Universal , was a native of Upper Swabia and paid regular visits to his homeland. During his visit to Germany in 1929, the literary agent Otto Klement pointed out the great success of the recently published novel Im west nothing new , by the until then relatively unknown author Erich Maria Remarquewas written. By the end of 1930 the book had been translated into twelve languages ​​and sold 3.5 million times worldwide. After Laemmle had read the book, he was enthusiastic and bought Remarque the film rights after short and amicable negotiations. Nevertheless, there were doubts from many sides about the success of a film adaptation of the novel, among other things, many critics pointed to the heated discussions about the book in Germany . To which Laemmle replied:

“One of the largest German film theater chains, UFA, has already informed me that it does not want to have anything to do with the project if our film is shown in Germany. There has never been anything like it, the critics (of the book) in Germany write, everything is a lie. But what should never have happened - the war ?! We went through that too. Shouldn't all the dirt have existed ?! We had to go through that too. And objections to fighting? Both sides probably had the suffering in common. I am sure we will have a really big film. "

At this point, his 21-year-old son Carl Laemmle Jr. took over his father's film studio. Laemmle Jr. wanted to shift the studio's focus from low-cost productions to high-quality films on a larger budget. The Laemmles hired the acclaimed Broadway writer Maxwell Anderson as scriptwriters, who, however, strayed a long way from the book with his first version of the script. The director Lewis Milestone put Anderson on his friend Del Andrews to bring the script closer to Remarque's story. In the end, a script emerged that Laemmle and Milestone were happy with. The theater director George Abbottwas then committed to the final touches on the script. Compared to the book, the scene in the classroom with Professor Kantorek and Paul, who is on vacation at the front, has been added.

Author Erich Maria Remarque 1929 in Davos (Switzerland)

occupation

Director

First, the renowned Herbert Brenon was to take over the direction, but this demanded an extremely high salary of 250,000 US dollars, which is why Laemmle was looking for a suitable alternative to Brenon. Agent Myron Selznick, brother of David O. Selznick , finally made Universal producers aware of his client Lewis Milestone. The Russian-born director Milestone was finally hired, not only because he demanded significantly less salary than Brenon, but also because he won an Oscar for the successful war comedy Die Schlachtenbummler as early as 1929had fetched. Milestone had been a member of the US Army during the First World War, where he was involved in various functions - including camera operator and assistant director - in the production of educational films . In Nothing New in the West , Milestone attached great importance to a realistic and relentless portrayal of the war.

actor

For many actors it was one of their first sound films and for many actors of the young soldiers it was one of their very first films.

21-year-old Lew Ayres was chosen for the main role , who had only made his first film in 1929 and was  unknown to the audience - perhaps with the exception of a supporting role alongside Greta Garbo in The Kiss . This was partly intended by Universal because a popular movie star seemed unsuitable for the role of the Unknown Soldier . Ayres had read the book, was determined to have the role of Paul Bäumer and successfully applied for the casting of the film. However, he only got the role after the preferred candidate Douglas Fairbanks juniorwas not available. Even Erich Maria Remarque was briefly considered a candidate for the main role, but Remarque turned it down because he considered himself too old for the role. Ayres became a pacifist through his work on the film and refused to serve in World War II , which earned him public criticism at the time. But later he helped as a medic in the US Army.

In contrast to Ayres, ZaSu Pitts was hired as Paul's mother, a relatively well-known actress. But since Pitts was best known as a comedian, the audience expected a comical scene in the previews and began to laugh. It was therefore replaced by Beryl Mercer and Pitt's recordings were only preserved in the trailer for the silent film version of the film. Slim Summerville , also a comedian and longtime co-star of ZaSu Pitts, kept his role as Soldier Tjaden. With Raymond Griffith, who portrayed the Frenchman killed by Paul, was another silent film comedian. Griffith was unable to work as a sound film actor after an extensive loss of his voice in his childhood and ended his acting career after this silent role. The first-named actor of the film in the opening credits and thus the star was the character actor Louis Wolheim , a good friend of Milestone, as Stanislaus Katczinsky. It was one of Wolheim's last films; he died in February 1931.

With the later film producer Arthur Gardner , who played one of Paul's nameless classmates, the last person alive who was involved in the film (both cast and film staff) died in December 2014.

Filming

Lewis Milestone as a motif on a Moldovan postage stamp from 2003

The budget for Nothing New in the West totaled $ 1.25 million, which was a large sum at the time. Although the sound film version is much better known, there is also a silent version of the film that was shot at the same time for foreign countries as well as the cinemas that had not yet been converted to the sound film. Also because of this “double shoot” of the film, the shooting, which began in November 1929, took a full 17 weeks. The budget was exceeded by around $ 200,000 due to the extended filming. Many scenes in the film were completed on the Universal Studios premises. The rest of the scenes were filmed in different locations, including the fight scenes in over 20 fields near Laguna Beach. In a progressive way, cameraman Arthur Edeson used mobile cameras and a camera crane , which was gigantic at the time , to better capture the battle.

Except for the marching music in the opening credits and the last scene, there is no film music in In the West, nothing new , apart from the many fighting noises within the film. The soundtrack was almost non-existent in the sound film up to Max Steiner's composition for King Kong and the White Woman (1933). In later releases of the film, soundtrack was added, although Milestone clearly opposed it. He preferred to have the film without music in order to make the events appear more realistic and authentic. It was only in the more recent releases of the film that Milestone's request for music-free film was met. For the silent film version, however, one by Sam Perry and Heinz Roemheld was usedcomposed film music is used, which cannot be heard in the sound film version.

Because Milestone was hardly able to practice her roles with the actors because of his Russian accent, the later star director George Cukor was hired as the film's acting coach without being mentioned in the opening credits. Another later successful director on the film set was Fred Zinnemann , who appeared in an extra role, but was fired for his disrespectful behavior. Many German veterans of the First World War were living in Los Angeles at the time and were hired as film consultants and extras. A total of around 2000 extras were used. To give the film more authenticity, former German military personnel like Hans von Morhart were usedbusy who taught the actors to march, among other things .

In the book, the exact circumstances of Paul Bäumer's death were largely left in the dark. So Laemmle and Milestone had to find a fitting ending to the film themselves. A first version contained a heroic death of Paul on the battlefield, but no one was happy with that end. The end of the film was left open until the end of shooting. The cameraman Karl Freund finally had the crucial idea with the butterfly - and thus created what is probably the most famous scene in the film. Paul's hand in the last scene is not that of the actual actor Lew Ayres, but that of Milestone - Ayres was already working on another film project at the time and was not available for the scene.

censorship

The original version was 150 minutes long. The American version was 10 minutes shorter and the German version was cut again. Scenes were cut out of the recruits beating the sadistic NCO Himmelstoss and another conversation sequence in which the emperor was branded as a war culprit. The transfer of the boot was also cut out in the German version.

Reception and aftermath

Popular success

The silent version of the film premiered in the United States in April 1930, while the sound film version was not released until June 1930 in Londonout. The film became a worldwide success and brought Universal Pictures about $ 1.5 million in profit (today's value: $ 27,166,364). In total, the anti-war film grossed around three million US dollars (today's value: 45,780,322 $), an exceptionally high sum at the time. In some American cinemas, the film was sometimes shown for half a year. The film was released in Germany in December 1930, but was accompanied by violent protests (see section below). In 1939, in the face of World War II, the film was released again in American cinemas. The film was first shown on German television on September 11, 1969 on ARD. There is nothing new in the West today as an important classic film that had a decisive influence on later war and anti-war films.

Awards

At the Academy Awards in November 1930, the film received two Academy Awards .

Later awards

Awards in Germany

Contemporary reviews and reactions to the film

In English-speaking countries

The reviews in the USA and England were excellent. Several newspapers reported that in the face of the "power of a factual, terrible drama" viewers were spellbound and fell silent before the realistic scenes. The Telegraph even wrote enthusiastically: "It is by far the best feature film that has ever been made ... whether sound or silent film". The industry journal Variety said that the League of Nations should show the film around the world in every language until the word "war" is removed from the dictionary. Lewis Milestone in particular received praise for his directing.

In German-speaking countries

While the film in veterans' associations in Anglophone countries often promoted the assessment that the life and, above all, death of ordinary soldiers in the trenches of the First World War, beyond their uniform color or their mother tongue, was always similar and therefore seemed suitable for dismantling enemy images , the reaction fell German Reich much more negative. The political right, especially DNVP and NSDAP, as well as the majority of the mostly still monarchist-minded veteran associations saw in the book and especially in the film adaptation an attack on the honor of the German soldier who suffered for his fatherland in the battles of the world war. The fact that American actors played German soldiers was also considered a provocation. The fact that director Milestone and producer Laemmle were Jews also incited influential anti-Semitic circles against the film. The Reichswehr Ministry protested against the film because, in its opinion, no German soldiers should be shown who doubt the sense of their deployment.

After the responsible Berlin film inspection agency had approved a voluntarily shortened German-language version of the film, the film premiered in Germany on December 4, 1930 in the Mozart Hall of the Neues Schauspielhaus on Nollendorfplatz , and the day after it was shown in German cinemas. In this version, the names of Jewish contributors had already been removed from the opening credits and the film was shortened by 53 minutes from 139 minutes to 85 minutes. Among other things, scenes were cut in which, for example, the recruits beat up the barracks yard flayer Himmelstoss, and Paul Bäumer's refusal to pay tribute. Scenes were also cut in other countries: In France the love scenes between the French women and the German soldiers were removed.

Despite the cuts, Joseph Goebbels , who was also the Gauleiter of the NSDAP and Reich propaganda leader of his party, initiated a massive campaign against the film , especially in Berlin . With the help of the SA he organized mass riots and violent riots in front of and in the cinemas. National Socialists, who had initially bought tickets for a film presentation in civilian clothes, blew up the performance several times shortly after the film began, for example by setting off smoke or stink bombs or by releasing numerous mice on at least one occasion.

At the same time, the Nazi press attacked the Prussian authorities that the film should be banned because it endangered public order; As evidence for this assertion, Goebbels used precisely those riots in his editorials as arguments against the film, which he himself had initiated by the Berlin SA , whereby large parts of the conservative civil servants were certainly also secretly involved with the activities of the NSDAP , Stahlhelm and veterans' associations sympathized. Ultimately, this strategy worked. At the request of the state governments of Thuringia, Brunswick, Saxony, Bavaria and Württemberg, the Supreme Film Inspectorate, headed by Ernst Seeger , banned the screening of the film in the German Reich on December 11th because of the “endangerment of the German reputation in the world” and the “degradation of the German Reichswehr ". The film has an "uninhibited pacifist tendency", and "if such a portrayal encounters people, it is inevitable that explosions will occur in today's emotional distress."

This ban met with violent protests. In particular, Carl von Ossietzky , Carl Zuckmayer , Heinrich Mann , Herbert Ihering and Käthe Kollwitz campaigned for the film. Only after an amendment to the Film Act ( Lex Remarque), which came into force on March 31, 1931, the film was released on June 8, 1931 "for certain groups of people and in closed events". On September 2, 1931, the film was generally re-approved in a further abridged version. The production company had to undertake, moreover, "also to show future abroad only this version approved by the German censors." With the seizure of power by the National Socialists was the Western definitively banned.

In 1929 nothing new in the West was banned as film and literature in Italy, 1931 in Austria, 1933 in Germany and 1949 in the Soviet Union. Universal brought out new, shorter versions of the film: in 1934 almost all grinding scenes were omitted, in 1939 annotated documentary recordings were cut. Changes in the image and sound during the Korean War (early 1950s) turned the anti-war film into a pure war film.

In the long run, the NSDAP's campaign against film was an important success on the way to seizure of power ; the combined acts of violence and propaganda had proven effective and even government agencies had failed. In this respect, the NSDAP was particularly encouraged for its further work.

After the Second World War, nothing new came into German cinemas in a shortened, newly dubbed version. In France, the ban on films was not lifted until 1963, and in Austria it was not lifted until the early 1980s.

The half-hour documentary film Geschundenes Zelluloid by Hans Beller from 1984 shows the origins and censorship of the film. The actors Lew Ayres and William Bakewell , the directors Géza von Cziffra and Delbert Mann , the journalist Fritz Lucke and the film producer Paul Kohner were interviewed for the film produced by ZDF .

Later reviews of the film

When critics portal Rotten Tomatoes , the film has a score of 98% based on 40 reviews.

“The force of the war can still be felt immediately, the trench warfare is outrageously senseless, the pathos of the war ideologues provocatively hollow; a unique anthology of details of the war madness. (Rating: very good) "

- Adolf Heinzlmeier and Berndt Schulz, Lexicon Films on TV

"The brave, still worth seeing Hollywood film adaptation of the anti-war novel of the same name by Remarque."

- 6000 films. Handbook V of the Catholic film criticism

“Probably the most important and honest anti-war film in the USA - a realistic reckoning with the First World War. In Germany in its time, denigrated, censored and mutilated by national and fascist circles, the film was first reconstructed and re-dubbed by ZDF in 1983/84 from the original version. A version supplemented by further parts in the OmdU 1995 by the WDR offers the most recent reconstruction of the film. "

"The terrible experiences at the front of World War I, which a group of schoolmates who were initially enthusiastic about fighting, are still today a convincing illustration of the futility of the war."

Continuation and further filming

In 1931 Remarque published the post-story of In the West nothing new with the novel The Way Back . The book is about the return of the surviving soldiers and their problems finding their way back into civilian life. After the great success of Milestone's film, Universal also had this novel filmed as a sequel, so to speak . As a result, the film The Road Back , directed by James Whale, was released in 1937 . It stars John King , Richard Cromwelland Slim Summerville, who again took on the role of Tjaden. This film turned into a financial disaster after difficult filming and received mixed reviews.

In 1979 there was a second film adaptation of Nothing New in the West : the American Delbert Mann filmed the story for television under the same title . The television film received good reviews, but not the status and notoriety of the 1930 version.

literature

  • Erich Maria Remarque: Nothing new in the West. Novel. With materials and an afterword by Tilman Westphalen. Kiepenheuer and Witsch, Cologne 1998, ISBN 3-462-02721-2 .
  • Thomas F. Schneider, Erich Maria Remarque, John W. Chambers II, Andrew Kelly, Jan-Christopher Horak , Heinrich Placke: The eye is a strong seducer. Erich Maria Remarque and the film . Writings from the Erich Maria Remarque archive. Vol. 13. Rasch, Osnabrück, ISBN 3-932147-51-0 .
  • Modris Eksteins: All Quiet at the Western Front and the Fate of a War. In: Journal of Contemporary History (JCH). London 15.1980, pp. 345-366, ISSN  0022-0094 .
  • Modris Eksteins: War, Memory, and Politics. The Fate of the Film All Quiet at the Western Front. In: Central European History (CEH). Cambridge 13.1980, pp. 60-82, ISSN  0008-9389 .
  • Gerhard Paul: Uprising of pictures. The Nazi propaganda before 1933. Dietz, Bonn 1990, 1992, ISBN 3-8012-5015-6 .
  • Bärbel Schrader: The Remarque Case. Nothing new in the West. A documentation. Reclam, Leipzig 1992, ISBN 3-379-01433-8 .
  • Matthias Rogg : “Nothing new in the West”: a film makes history . In: Military History: Journal for Historical Education, 2008, No. 4, pp. 4–9 (PDF file; 5.05 MB).
  • F.-B. Habel: Cut up films. Censorship in the cinema. Gustav Kiepenheuer Verlag, Leipzig 2003, ISBN 3-378-01069-X .
  • Hans J. Wulff: Nothing new in the West. In: Film Genres. War Movie. Edited by Thomas Klein, Marcus Stiglegger and Bodo Traber. Stuttgart: Reclam 2006, 46–56 [with references], ISBN 978-3-15-018411-0 .

See also

Web links

Individual evidence

  1. a b c accompanying text ( memento from February 21, 2015 in the Internet Archive ) as a PDF file for a project by geschichte-projekte-hannover.de
  2. Nothing new in the West (dubbed version from 1952) on synchrondatenbank.de
  3. The 135 minutes broadcast in PAL, i.e. with 25 frames per second, correspond to a length of approx. 140 minutes in the cinema or on Blu-ray.
  4. ZDF version on OFDb.de
  5. Deutsches Filminstitut: https://web.archive.org/web/20090209003728/http://www.deutsches-filminstitut.de/zengut/dt2tb00154e.htm Nothing new in the west] , Deutsches Filminstitut . July 10, 2007. Archived from the original on February 9, 2009. 
  6. DVD version on OFDb.de
  7. The 128 minutes broadcast in PAL, i.e. with 25 frames per second, correspond to a length of approx. 133 minutes in the cinema or on Blu-ray.
  8. See remarque.uni-osnabrueck.de
  9. See tcm.turner.com
  10. See silent-volume.blogspot.de
  11. See tcm.turner.com
  12. Gigl, Claus: Reading Aid Erich Maria Remarque- Nothing New in the West, Klett Verlag, Stuttgart, 2014, pp. 95–96
  13. ^ The Quigley Publishing Company (Ed.): International Motion Picture Almanac 1937-38 . Edited by Terry Ramsaye. The Quigley Publishing Company, New York 1938, pp. 942 (English, 1376 pp.).
  14. Tim McMahon: Highest Grossing Movies Adjusted for Inflation. In: inflationdata.com. May 16, 2013, accessed on January 14, 2017 (The calculated value (2013) is 41.8 million US dollars, this is updated annually - with the help of a wiki tool. The film has been re-released in theaters several times, so the numbers represent the total revenue the film has made since its original release.)
  15. See remarque.uni-osnabrueck.de
  16. F.-B. Habel: Cut films , p. 53
  17. Nothing new in the West at deutsches-filminstitut.de. Retrieved February 1, 2014.
  18. ^ Battered celluloid in the arte media library ( memento from June 26, 2014 in the Internet Archive )
  19. the Western Front at Rotten Tomatoes (English)
  20. ^ Adolf Heinzlmeier and Berndt Schulz: Lexicon Films on TV (extended new edition), Rasch and Röhring, Hamburg 1990, p. 395, ISBN 3-89136-392-3 .
  21. Critical notes from the cinema years 1945 to 1958 . Handbook V of the Catholic film criticism. 3rd edition, Haus Altenberg, Düsseldorf 1963, p. 210.
  22. Nothing new in the West. In: Lexicon of International Films . Film service , accessed October 26, 2019 .Vorlage:LdiF/Wartung/Zugriff verwendet 
  23. Protestant film observer . Evangelical Press Association Munich, Critique No. 153/1952.