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Telluride 2007: A Second Look at ‘People on Sunday’

Karina Longworth
By Karina Longworth posted 1 year ago
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Based on Paul’s recommendation, on our last day in Telluride I went to the encore presentation of People on Sunday. Though I wholeheartedly agree with Paul’s endorsement of Sunday’s fully-modern depiction of courtship, I was equally taken with its utopian treatment of working class leisure. People on Sunday is as much a love letter to the proletariat as the films of the Bolshevik giants, but politics are ultimately pushed aside for a celebration of a pursuit of happiness that’s in some way about transcending social class. As a snapshot of the last wave of youthful abandonment before the Hitler era, it’s a heartbreaker.

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Telluride 2007: People on Sunday (1929)

Paul Moore
By Paul Moore posted 1 year ago
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People on Sunday
If Telluride does anything, it changes the experience of movie watching. The real gold of the program is not sneak peaks at the big Oscar contenders starting the fall festival run, but films pulled from the vault of history. On a sunny Sunday morning in the mountains, I walked into a theater of movie-lovers where a live orchestra tuned their instruments. We clapped as the orchestra was introduced, the lights went down, the screen lit up and they began to play.

People on Sunday
, for Germany in 1929, was like Coppola, Spielberg, Scorsese, and Lucas in their early 20’s getting together and saying, “Let’s have some fun making a movie.” (People is a silent film created by Billy Wilder, Robert Siodmak, Edgar G. Ulmer and Fred Zinneman, among others.) A meandering film about twenty-somethings–an actor, a dancer, a model, a mechanic–breaking from their mundane day jobs for some fun on a Sunday. It’s a celebration of leisure and the little moments that make life worth living (like an 88 year old version of Aaron Katz’ Quiet City Kevin reviewed in FilmCouch #35). I also have to share People contains the most seductive first kiss I’ve ever seen on film. No joke. …Read more