The opening title, “A film by and for amateurs,” is a disarming and charming lead-in to what is in fact an astonishing first film by several artists who were soon to become Berlin exiles: directors Robert Siodmak and Edgar G. Ulmer; writers Billy Wilder and Kurt Siodmak; and cinematographers Eugen Schüfftan and Fred Zinnemann. There is a timeless freshness about People on Sunday. With unpretentious humor it deals with how the working class spends its increasingly precious leisure time, telling of a taxi driver and a traveling salesman who join two young women for a day of swimming, snoozing, and flirting, leaving the cabbie's wife at home to sleep away her Sunday. The day after shooting, the taxi driver returned to his taxi, the shopgirl to her shop. In one of the most beautiful of the between-the-wars city symphonies, the angular ballet of shadows in the street scenes perhaps foreshadows Ulmer's later noirs.