Seitensprünge Review: A Quirky Old German Romp Worth Digging Up?

Alright, so 'Seitensprünge' — that’s ‘Flings’ or 'Infidelities' if you’re translating directly — is a definite *yes* if you’re into older, slightly absurd comedies. If you’re a fan of early German cinema, or just curious about Billy Wilder’s early writing gigs, you’ll probably get a kick out of this one. Folks who need their comedies fast-paced with modern zingers, well, this might feel like watching paint dry. It’s got a charm, but it’s a specific kind of charm, you know?

The whole thing kicks off with Sims and Maurus, a married pair who are clearly bored with each other. They’re both busy finding a little romance elsewhere. It’s not dramatic or anything; more like a quiet, polite discontent.

Then, suddenly, they both decide to ditch their current lives and elope. Separately, of course, with their new flames. It’s a pretty bold move for a 1931 film, I think. You almost expect some grand, tearful confrontation, but no. It’s all very… logistical, in a way.

The real magic happens when both couples, completely unaware of the other, show up at the *same justice of the peace* to tie the knot. 👰‍♀️🤵‍♂️ The look on Otto Wallburg’s face, playing the husband, when he spots his wife Maurus (Gerda Maurus) there with another man? **Absolutely priceless.** It’s not an angry look, not really. More like utter bewilderment, then this slow dawning realization. You can almost hear the gears grinding in his head. And Gerda Maurus matches it perfectly; her jaw just drops.

That scene, where they’re all just standing there, frozen, the four of them, is where the movie really earns its stripes. It’s not just the surprise; it’s the *awkwardness* that gets you. The justice of the peace, poor fellow, tries to keep things moving, but the air is just thick with unspoken everything. They don't overplay it, which is key. It just hangs there, wonderfully uncomfortable.

Oskar Sima, as Maurus’s new suitor, is particularly good at playing the slightly baffled, but still earnest, new guy. He doesn't quite grasp the full scope of the situation at first, which adds another layer to the comedy. His quiet 'whoops' expression is a real gem.

Cinematic perspective: Exploring the visual vocabulary of Seitensprünge (1931) through its definitive frames.

The film doesn't rush to a conclusion. It lets the consequences of this ridiculous coincidence play out. You see them trying to navigate this incredibly embarrassing situation, and it's less about grand pronouncements and more about the small, flustered reactions. Like when someone clears their throat a little too loudly. Or a quick, nervous glance between the two original spouses.

There's this moment earlier, too, where Sims is trying to be charming with his new lady. He’s telling her about his grand plans, and you can tell he’s *really* trying to sell it. But there's this slight hesitation in his voice, almost like he’s trying to convince himself more than her. It’s a small thing, but it humanizes him.

And Gerda Maurus! She has such a quiet intensity. When she’s with her new lover, there's a lightness to her, a smile that feels a bit more genuine than when she's around Sims. It makes you feel for her, even though she's also doing the 'wrong' thing. It’s not just a silly farce; there’s a little bit of heart in these characters trying to find happiness, even if they're going about it in the most convoluted way.

The pacing is definitely slower than what we're used to now. Some scenes linger, letting you absorb the expressions and the quiet moments. It’s not a bad thing, just different. It feels like you’re sitting in on something, rather than being rushed through a plot.

You can see glimpses of the clever dialogue and setup that Billy Wilder would become famous for, even in this relatively early work. It’s not as sharp as 'Some Like It Hot,' obviously, but the *bones* of that wit are there, especially in the way the plot unfolds.

This isn't a film that’s trying to teach you a big lesson about marriage or infidelity. It’s more of a delightful snapshot of human folly and the tangled webs we weave. It’s charming, a bit goofy, and a wonderful peek into a different era of filmmaking. It just reminds you that some things, like awkward romantic entanglements, are timeless. 😊

Didja notice?

• The rather elaborate hats the ladies wear. So stylish!
• The way the justice of the peace subtly wipes his brow after the big reveal.
• The sheer number of times someone nervously adjusts their tie.
• One of the new lovers keeps nervously tapping his fingers. A little detail, but it sells his anxiety.
• The furniture in the apartments looks very, very sturdy.