The years immediately before and after the Second World War have largely been overlooked when it comes to German filmmaking. Seems obvious why, of course, but it does leave somewhat of a significant gap in cinema history between the German Expressionists and the 70s auteur movement of Herzog, Fassbinder, Schlöndorff, Wenders et al. So, it’s no surprise that during this seemingly barren period, there were in fact a handful of filmmakers doing good work, including one Helmut Käutner, who despite a lack of recognition outside of his home nation, gained a reputation as one of Germany’s greatest filmmakers.     

His absence from the pantheon of celebrated directors may in part be due to a residual association with the national socialists - despite being largely critical of the regime. It might also be that his films were German-centric in their focus and while he did endure a short stint in Hollywood after the war, it wasn’t a very successful one. It also may partly be the result of a significant backlash by the frontrunners of new German cinema, who made it very clear in their Oberhausen Manifesto that the old guard were tired of ‘Papa Kino’ of which Käutner was a central part. However, on revisiting the director’s filmography, it’s evident that there may have been some haste in its sweeping rejection and thankfully, there is an ongoing re-evaluation of his work. To this end, the ever-reliable Radiance Films have finally released the 2017 Friedrich-Wilhelm-Murnau-Stiftung restoration of Käutner’s 1961 European noir, Black Gravel, which is now available on Blu-ray for the first time.

On its release, Black Gravel was actually awarded the title of “worst achievement by an established director”. But rather than the overly nationalistic, pastoral portrayal of a romanticised and Heimat-esque version of Germany that it was accused of being, it is in fact a powerful tale grounded in post-war socio-political truths, much closer to the aesthetic of new German cinema than the new vanguard was prepared to acknowledge. Centring on the American-occupied town of Sohnen, the local post-war economy is dependent on the spending of foreign soldiers leading in turn to a thriving underground of brothels and black markets. Our protagonist is truck driver Robert Neidhardt (Helmut Wildt) who, along with his compatriots, operates a side hustle of stealing and selling black gravel to private buyers in a bid to fight off the waves of poverty. He unexpectedly encounters old flame, Inge (Ingmar Zeisberg) who has abandoned her old life by marrying the American major who it turns out is running the show in Sohnen. As may be predicted, however, it’s not long before she begins to gravitate towards Robert, the two becoming closer when tragedy ensues and they become embroiled in a web of secrecy and lies.

Running throughout the film is Käutner’s unspoken commentary on what was the reality of post-war Germany for many. “The events and characters are fictional but not the time and place,” the film announces as it launches its exploration of impoverishment, subjugation to alien forces and pervasive antisemitism - a situation that the authorities were trying their best to disguise. Ironically, it was this final element that led to a revision of the film’s ending when the leader of a Jewish group at the time objected to the supposed antisemitic presentation within the film – a view that was not shared by other Jewish critics, but which sadly led Black Gravel to all intents and purposes disappear into obscurity. Disappointing, as this is a wonderful piece of neo-realism that tackles controversial and largely hidden truths, directed with sensitivity, skill and style.

Released in original uncompressed mono PCM audio, the Radiance version contains both the uncensored original and re-edited distribution cut with the alternate and putatively less bleak ending for the masses - the original carrying much greater weight. There’s audio commentary with film historian Olaf Möller and an excellent analysis by German film expert Margaret Deriaz that examines both the film and the sociopolitical setting from whence the film emerges. There’s also a short but sweet glimpse of Käutner at work.

It’s about time that this director was given the recognition he deserves and for Black Gravel to receive due praise for its bravery and storytelling. And for those unfamiliar with his work, this is the perfect place to start.