People In Sheffield (1965) German Documentary

[melthebell 862]

Just been shown this on facebook, interesting, but no idea why it was made in Germany lol, includes footage of the Dial House Club, and town including the markets

 

Edited December 13, 2021 by melthebell

[Rockers rule 673]

2 hours ago, melthebell said:

Just been shown this on facebook, interesting, but no idea why it was made in Germany lol, includes footage of the Dial House Club, and town including the markets

 

Well done and thanks for sharing  melthebell.

Started off well with the British railways Scammell Scarab shooting pass followed by the Mk111 Zodiac (I'd settle for either for Christmas) 🎅.

I'd nearly forgotten how big the Dial House was.

Had to laugh at the old guy playing the one armed bandit,  did he think he'd a better chance of winning if he'd got his tongue out when feeding the thing?

Happy daze, Quiffs, Peroxide Beehives, Fur coats and proper Pint pots wi'handles did the place ever change?

Loved the bit at the end with the little lass helping her brother home, wi' his bag o' sweets, and who didn't have a tricycle wi' breadbin?

Nice coincidence at the end. I have a vehicle in my collection that is just over 2000 places on from the registration of the Standard Vanguard estate at the end of the film. 

 

Keep safe out there 

 

[Palomar 309]

The young documentary maker came over and made it off his own back I think. There was a showing at the Showroom a few years ago organised by the Goethe Society in London. They invited the original director, who is quite highly regarded.

 

Many great moments in the film, the 'turns' on at Dial House, the kids playing in the streets and schools, the factories using old technology. The Germans must have wondered once again how they lost the war.

[Jim Hardie 525]

Lol, Dial House was ‘the town of Sheffield's main pub’.

 

https://www.imdb.com/title/tt0321277/

[melthebell 862]

4 minutes ago, Jim Hardie said:

Lol, Dial House was ‘the town of Sheffield's main pub’.

 

https://www.imdb.com/title/tt0321277/

LOL, just the one, main pub.

[Guest]

That was Hyde Park Terrace at the end, with the group of lads and the landing disappearing off into the horizon, but I'm not sure if the flats just before it were Hyde Park or Park Hill.  I think Hyde Park.

[fools 447]

Is that shop with the long ramp at 4m51 Woolworths? They did lovely hot doughnuts in those days.

 

Those buses were more comfortable than some current ones, at least they had heating, and lights that don't leave a shadow on your retina. And no intimidating cctv monitor, watching, listening. And no litter everywhere.

Edited December 13, 2021 by fools

[Hopman 46]

https://mubi.com/de/notebook/posts/traces-a-conversation-with-peter-nestler    (Just the part relevant to Sheffield)

 

GRENNBERGER: The Sheffield of Ein Arbeiterclub in Sheffield [1965] reminds me of the German cities in Ruhr, like Duisburg and Essen, so there’s a connection back to your earlier films. What was it that tempted you to explore this milieu in Sheffield?

NESTLER: It was made for the German public service channel ARD and the TV-station SR Fernsehen in Stuttgart, and the head of the documentary film department there, Heinz Huber, told me that in Sheffield there were residential areas like the ones Friedrich Engels wrote about in The Condition of the Working Class in England. And he thought that such an industrial city would be good for a film. I had never been to Sheffield before, only to the coastal cities of England. But I knew what the type of milieu—the steel industry—looked like, and how I could eventually arrange the film. When we got there, we went to this club, and realized that this could be a platform of sorts in the way it branched out into the factory halls, buses, markets, schools and such.

GRENNBERGER:Ein Arbeiterclub in Sheffield is a film that in many ways sticks out from your films of the 60s, not only because of the different geographical context, but the cut-ins, the ways the different image-milieus correspond with each other; the music, the bars and the industrial landscape create an unusual complexity…

NESTLER: Jean-Marie Straub said that this film has more doors. That is, it can be liked by more people than any of my other films, which perhaps can be closed to some.

RAMSTEDT: Is this a problem for you? Would you, considering your political agenda, like to have a bigger audience?

NESTLER: No, it’s important that I make my films in the way I think is correct and to probe what I enter upon.