hitler ' s madman
douglas sirk recreates the assassination of heydrich, hollywood style, in “hitler’s madman” .
hitler' s madman was originally called hitler' s hangman but had its title changed to avoid confusion with the previously - released lang film .
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extracto de la película estadounidense hitler' s madman (1943) en la que john carradine interpreta al dirigente de las ss reinhardt heydrich .
hitler' s air force aide bernd freytag von loringhoven told the cameras about the poisoning of hitler' s beloved alsatian dog' blondi' .
actually both did pretty well. hitler' s madman was a super - cheap b - movie that turned out so well it was picked up by mgm and given a wide release .
starting with charlie chaplin’s “the great dictator, ” “triumph of the will” provided material for anti - nazi satire; it also figured as an image of the nazi new order in hollywood’s wartime efforts. two examples, “hitler’s children” and “hitler’s madman” (both quickly made low - budget films from 1943), are available on dvd from warner archive .
hitler in leni riefenstahl’s “triumph of the will” (1935), a “documentary” largely staged .
ganz displays a great command of the awkward bavarian - austrian accent which hitler spoke and manages to give a natural edge to hitler' s notorious outbursts .
' hitler' s meals were delicious... asparagus, bell peppers, ...
love song: adolf hitler and eva braun. arthur kannberg, hitler' s butler, revealed how a song called' blood red roses' was the favourite of hitler and eva, a record they listened to' over and over'
according to hitler' s secretary she hated blondi and was known to kick her under the dining table .
on thursday, germany' s frankfurter rundschau daily published an interview with niklas frank, the son of hitler' s former general governor to poland, who tried to explain why so many germans were seduced by hitler .
showing hitler with a permanent stoop, trembling from parkinson' s disease, ganz plays a deteriorating character, resembling both the breakdown of a human being and the system hitler created .
two historical war films about operation anthropoid, the assassination of nazi leader reinhard heydrich in prague during world war ii (like hangmen also die and hitler' s madman, oddly enough). the two films were released less than a year apart .
arthur kannberg, hitler' s butler, revealed how a song called' blood red roses' was the favourite of hitler and eva, a record they listened to' over and over.'
love letters: adolf hitler taking the salute at era in thuringia during a march by his supporters. traudl junge, who was hitler' s favourite secretary, said he often received love letters from admirers
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a new film portraying adolf hitler as both a delusional madman and an occasionally softer father figure premiered in germany on thursday. but it has already triggered a furious public debate about whether it' s the right time to break one of the nation' s last taboos — showing the nazi leader as a human being .
hitler' s madman was the first film sirk directed in the united states. sirk was a german, and despite being anti - nazi he worked in the german film industry until shortly before his escape to the west in 1938. sirk made it to hollywood by 1939 but didn' t get hired to direct a movie until hitler' s madman, which was a b - movie shot super - cheap over just seven days. sirk had actually met reinhard heydrich at a party in germany, and was able to give carradine advice on how to play the part .
blatant lies: just before he dies, heydrich tells himmler some hard truths, namely that this is all hitler' s fault and germany is going to lose. afterwards, himmler calls hitler and says that heydrich' s last words were
victory is certain! heil hitler !
after he hangs up himmler mutters
dead men tell no tales .
hitler the human hitler is played by 63 - year - old swiss actor bruno ganz, who critics say is able to produce a photographic resemblance of the austrian - born dictator .
hitler' s madman is a 1943 film directed by douglas sirk. it is a dramatization of the events surrounding the real life assassination of reinhard heydrich in prague, czechoslovakia in 1942, and the retaliatory massacre of the entire village of lidice, which cost 1300 lives. it stars john carradine as heydrich .
like “hangmen also die! ” (1943), fritz lang’s film on the same subject, “hitler’s madman” involved significant german émigré talent: it was produced by seymour nebenzal, whose credits included lang’s “m, ” and was directed by the recently arrived douglas sirk. eugen schüfftan, who shot “metropolis, ” worked (uncredited) on the cinematography; edgar g. ulmer (also uncredited) was responsible for the sets .
a far better movie, “ hitler’s madman ” evokes a larger nazi atrocity: the destruction of lidice, a czech town where all the male inhabitants were executed in revenge for the assassination of their german overlord reinhard heydrich, a key figure in the nazi hierarchy (who makes a cameo appearance in “triumph of the will”) .
“the downfall” portrays the last 12 days in the life of the hitler, and is told from the point of view of traudl junge, one of hitler' s personal secretaries. it is based in parts on junge' s biography and also the book ,
the downfall ,
by historian joachim fest .
' he watched as cyanide was slipped into his dog’s mouth. he was emotionless. he only wanted to know if it worked': hitler' s confidantes describe his last days in extraordinary never - before - seen interviews
erich kempka, hitler' s chauffeur from the earliest days of the nazi movement, scrounged the necessary fuel to burn the bodies in the garden of the reichs chancellery .
hitler' s madman is based on an all - too - real wartime atrocity. john carradine portrays heydrich, the vicious ss officer put in charge of nazi - occupied czechoslovakia. heydrich is killed by the czech underground, prompting the nazis to plan a horrible retaliation. the gestapo selects the czech village of lidice for annihilation: they kill all the male villagers, throw the women and children into concentration camps, and torch lidice into nonexistence. the victims of nazi tyranny become martyrs to the underground cause, ending the film on a note of triumph. based on a narrative poem by edna st. vincent millay, hitler' s madman was produced by the
poverty row
prc studio, but was sold to mgm and given a class - a presentation at choice theatres throughout the u. s .
' he also spoke of a' secret stash' of treasure of hitler' s which he hid near to his home at berchtesgaden, but it has never been found .
the film shows very well that hitler was not only crazy. he had a human side, which was likeable at times ,
frank said .
i could have watched bruno ganz as hitler incessantly ,
frank said .
relationship: hitler (standing third from right) and va braun (kneeling far right). his butler said' hitler and eva were very much in love, but perhaps not to the extent that he ever wanted children with her'
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as the war continued, and nazi atrocities worsened, bonhoeffer joined others to plot against hitler. but operation valkyrie failed to kill the german ruler (on july 20, 1944), and his revenge against those immediately responsible was swift, and fatal. claus von stauffenberg, who’d left a briefcase bomb in hitler’s planning room at wolf’s lair, was executed the day after the bomb exploded .
traudl junge, who was hitler' s favourite secretary, told the cameras how her boss was receiving love letters from besotted followers right up until his suicide in the berlin bunker in april 1945 .
' as i remembered that the air conditioning system was fuelled by diesel, i personally denied them entrance to the bunker. i relented after heinz linge, hitler' s valet, vouched for them. this was, of course, the petrol that was to be used to cremate the bodies of hitler and eva braun .
' hitler and eva were very much in love, but perhaps not to the extent that he ever wanted children with her .
there was champagne but hitler didn' t drink any. he was concerned about getting his last will and testament down.'
hitler' s madman, a wwii propaganda film, had a complex origin story: filmed shortly after the real events it depicts (the assassination of senior nazi reinhard heydrich and the subsequent massacre of the czech town of lidice in reprisal), the appearance of fritz lang' s similarly - themed hangmen also die! caused its release to be delayed and it also suffered a title change from the catchier hitler' s hangman. on the plus side, the tiny independent production, shot in just a week, was acquired by mgm and given a bigger budget for re - shoots to enhance its production values. but sirk ruefully admitted the new scenes actually weakened the film' s poverty row sensibility, which gave it a slight documentary flavor which was useful .
yet, the audience is also shown a charming side of hitler, a man who shows moments of kindness toward his female staff .
he had helped to prosecute nazi war criminals and had been given special access to the remnants of hitler' s court because the us navy believed rumours that the fuehrer had escaped to argentina after the war .
' hitler was emotionless. he only wanted to know if it worked and it did. later the propaganda minister' s wife magda goebbels would use the capsules to murder all her children as they slept.'
one bunker functionary called lorenz said that after hitler and eva married on april 29 1945' there was a little party in the bunker .
forever in the spell of evil ,
read the headline of a stern magazine report, which claims that even 60 years later, germans still have to question why they cannot escape from hitler' s shadow .
gatling good: among karel' s equipment is a souped - up gatling gun that can fire 300 rounds a minute. it' s used against heydrich .
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remarkable interviews with the circle of confidantes who surrounded adolf hitler in the days before his suicide have been shown for the first time on german television .
they revealed intimate domestic details of hitler' s favourite tea, the love letters from his admirers and the love song that he and eva braun, the woman he married in the underground hide, listened to over and over again .
' i then helped carry the corpses. while linge and an orderly whom i do not remember were carrying the corpse of adolf hitler, i carried the corpse of eva hitler. i noticed the long black trousers and the black shoes which the fuehrer usually wore with his field - gray uniform jacket .
' i was frozen,' he said,' then raised my arm automatically one last time in the' hitler greeting' to salute him.'
hermann karnau, an s. s. bodyguard of the fuehrer who escaped the bunker and tried to return to it at the last moment, said;' i tried to get back through into the bunker through the emergency exit when i saw about 20 metres away from me the bodies of adolf hitler and eva braun .
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– tom ryan’s overview in the “ great directors ” section of senses of cinema .
a hodgepodge of body parts that any four - year - old could have painted .
it dismisses the mural as the dream of a madman. even the soviets, who had sided with the spanish government against franco, react coolly. they favor more overt imagery, believing that only more realistic art can have political or social consequence. yet picasso' s tour de force would become one of this century' s most unsettling indictments of war .
hitler was given his beloved dog as a gift and he became so fond of her that she slept in his bedroom in the bunker during his final days .
parachuting near the occupied village of lidice, czech soldier karel vavra... recruits saboteurs in the fight against the nazis. determined to end the resistance, reich protector reinhard heydrich... murders priests, closes schools and forces the female students to
entertain
german soldiers. incensed by the atrocities, vavra and the partisans plot to assassinate heydrich, an act of reprisal that will ensure lidice' s fate through the hands of reichsführer himmler. independently produced by german expatriates and powered by sirk' s distinctive visual style, hitler' s madman is... a superior b - movie that captures the harrowing events that took place in lidice on june 10, 1942
- - container .
at a time when the mainstream church of his country seemed to turn a blind eye to hitler, dietrich bonhoeffer (a lutheran pastor) took a different path. although a pacifist, bonhoeffer decided to actively resist hitler and the perverse effects the third reich had on the laws, and lives, of so many people .
because heydrich had been nicknamed
hangman heydrich .
however, fritz lang' s film
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' i last saw hitler alive around about 4. 00pm that day. i believed that the fuehrer had been poisoned by his personal physician dr ludwig stumpfegger.'
– also in senses of cinema, tag gallagher’s essay “ white melodrama: douglas sirk. ”
initially brought to hollywood for a remake that never materialized, he made his american directing debut with hitler’s madman (1943) and impressed producers with strikingly stylish low budget projects such as summer storm (1944) and a scandal in paris (1946), the latter with george sanders bringing a mix of bemusement, blasã©, and aristocratic poise to the role of suave con man and criminal mastermind vidocq. the cramped but richly sumptuous sets gives the production the look of a half - scale model of paris, and sirk keeps the film bubbling with droll playfulness and continental wit .
hitler' s adjutant nicholas von below was interviewed, along with his favourite film director leni riefenstahl, the family of his mistress - and wife of 24 hours - eva braun, who committed suicide with him in his bunker, and generals walther wenck and karl koller .
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two films about winston churchill when he was the uk' s prime minister during world war ii .
bonhoeffer was executed at flossenburg concentration camp in april of 1945, days before it was liberated by advancing allied troops. it is said that hitler personally gave the order for his execution .
last day: adolf hitler and his wife eva braun pose with their pets. the dictator is holding his favourite dog blondi on a leash. he was to have her poisoned with cyanide
to picasso' s native soil in a testimony of national reconciliation. in its final journey, picasso' s apocalyptic vision has served as a banner for a nation on its path toward freedom and democracy .
created by the twentieth century' s most well - known and least understood artist. but the mural called
“hitler’s children” is framed by miniature versions of the nuremberg congress, with german teenagers clustered around a bonfire consecrating their lives to the führer. lurid yet turgid, the movie is a tale of doomed puppy love, nazi eugenics and sexual sadism. ads featured the image of a freedom - loving american girl (bonita granville, hollywood’s original nancy drew) given a ritual flogging by a member of the ss .
parts of the film portray hitler as a psychopath, wandering the corridors of the bunker below the streets of berlin, ignorant to the collapse of his empire and to the suffering population above his head .
hoping for a bold visual protest to franco' s treachery from spain' s most eminent artist, colleagues and representatives of the democratic government have come to picasso' s home in paris to ask him to paint the mural. though his sympathies clearly lie with the new republic, picasso generally avoids politics - and disdains overtly political art .
sirk never denies the overwrought emotions and mawkish sentimentality of these films; he pours on the exaggeration and irony in equal doses. itâ€™s oddly appropriate that sirkâ€™s popular hits were critically snubbed on their release. that’s not to say that middle class crowds and sobbing housewives saw past the glossy surfaces to see the brechtian engagements with middle class malaise and
is delivered to the spanish pavilion, where the paris exposition is already in progress. located out of the way, and grouped with the pavilions of smaller countries some distance from the eiffel tower, the spanish pavilion stood in the shadow of albert speer' s monolith to nazi germany. the spanish pavilion' s main attraction, picasso' s
pressure point sidney poitier plays a tightly wound prison psychiatrist saddled with bobby darin’s american nazi patient in this 1962 drama produced by stanley kramer, reissued on blu - ray. the times critic bosley crowther praised mr. poitier’s “coolly forceful performance” and noted that, “as was intended, mr. darin’s portrayal should make anyone recoil. ” (olive films )
he said;' i remember with complete sureness that i was called on april 30 by s. s. sturmbannfuehrer guensche while i was in the reich chancellery garage asking me to bring over five cans of petrol to the bunker .
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yes, said bernd eichinger, one of germany' s top directors, who wrote the screenplay for the movie .
america won world war ii: karel helpfully tells the townsfolk that millions of men
in england and america
are joining up to fight hitler. that business on the eastern front was no big deal, apparently .
riefenstahl’s mass formations of marching members of the hitler youth remind many film historians of the dance numbers choreographed in hollywood by busby berkeley. like berkeley, riefenstahl understood the power of synchronized sound. the music in her film is nearly continuous; shots showing a sea of nazi banners or a forest of upraised arms are edited to the beat .
the raising of lidice and the almost total slaughter of its inhabitants elicited worldwide revulsion when its story was brazenly touted by hitler’s third reich in june, 1942. widely - feared ss officer heydrich, a chief architect of hitler’s “final solution, ” was an embarrassingly high - value target to get taken out by opposition guerrillas, so an enraged reich furher adolph hitler and ss chief heinrich himmler believed an overpowering response was needed to quell any potential rising tide of rebellion among the reich’s occupied people. when incorrect gestapo intelligence linked the towns of lidice and lezaky to the british special operations executive - trained czech guerrillas that killed heydrich, reprisals against both towns were sickening in their barbarity: all males over 16 were summarily shot; the women of lezaky were also killed while the women of lidice were sent to concentration camps where most later died, as were all the children (81 of whom were gassed immediately). every last animal in the villages was slaughtered, and both towns were completely raised, with lidice’s remains covered in soil and planted with crops, as if it never existed. final death toll: over 1, 400 people taken in revenge for heydrich’s assassination. it was an atrocity particularly stunning in its heartless calculation, during a time of seemingly daily similar outrages .
examination: life correspondent percy knauth sifting through the dirt & debris in the shallow shell hole where the bodies of hitler and eva braun were thought to have been burned after their suicides, in the garden of the reichstag .
ganz agreed .
if i would not have felt sympathy for the character and would not have managed to make the audience feel sympathy for the creature hitler, then i would have failed in my job as an actor .
a beautiful film that takes beauty as its subject, led by a b actress illuminated in the films of france’s diagonale directors .
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, open and lush in contrast to wymanâ€™s drab, confining house and sterile suburban street. (rainer werner fassbinder, who appropriated both sirkâ€™s style and use of melodramatic structures, remade heaven as ali: fear eats the soul with the added dimension of race. )
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the story of moshe the beadle, with which night opens, is perhaps the most painful example of the jews’ refusal to believe the depth of nazi evil. it is also a cautionary tale about the danger of refusing to heed firsthand testimony, a tale that explains the urgency behind wiesel’s own account. moshe, who escapes from a nazi massacre and returns to sighet to warn the villagers of the truth about the deportations, is treated as a madman. what is crucial for wiesel is that his own testimony, as a survivor of the holocaust, not be ignored. moshe’s example in this section is a reminder that the cost of ignoring witnesses to evil is a recurrence of that evil .
august wollenhaupt, the barber of hitler, was also interviewed and he described a' genial, soft spoken man' who enquired after his family and who always wanted to know what' the gossip from the man in the street was.'
a colonel holsten who was in the bunker when hitler and eva ended their lives on april 30 1945 told how he saw the bodies being dragged up the narrow stairs to the reich chancellery garden where they were doused in petrol and set aflame .
breaking the fourth wall: this propaganda machine film ends with the spirits of the dead of lidice, still in character, parading by the camera and looking straight at the audience, urging americans to think of them and continue the struggle against hitler .
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brilliant, tedious and irredeemably evil, leni riefenstahl’s “triumph of the will” (1935) is one of the great conundrums of cinema history .
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[ criterion releases douglas sirk’s magnificent obsession this week. in celebration, i offer this essay, which was originally published on greencine in 2007 ]
what we are trying to do is give hitler a three - dimensional portrait, because we know from all accounts that he was a very charming man ,
said director oliver hirschbiegel .
a man who managed to seduce a whole people into barbarism .
unfortunately, carradine is in very few scenes. patricia morison, whom sirk admired, is top - billed, but she' s paired with alan curtis, a mustache in search of an actor. alone, she' s good (shiny - eyed, lush - lipped, highly emotive), but, frustrated by her co - star' s burnished wooden performance, she overplays to try and force something out of him. this means she never seems to be reacting to what he' s actually doing, or listening to what he' s saying, but to what she wishes he were doing or saying. rarely have i see two actors so badly out of sync: one limpid, the other merely limp .
was finished, mgm mogul louis mayer saw it and liked it so much he bought it for his studio, making it one of the few, if not the first, outside films to be distributed by mgm. at mayer' s insistence, sirk reshot material in october and november of 1942 though sirk felt that this somewhat compromised the documentary nature of his film. yet, despite the film' s timely nature and mayer' s enthusiasm ,
‘s dream factory version of heaven. (stanwyck and sirk teamed up for one more outing, the underrated b & w melodrama there’s always tomorrow (1956) a suffocating look at suburban middle class life with fred macmurray in the traditionally female role of the dreamer who sacrifices his dreams for family. )
on april 27th, 1937, unprecedented atrocities are perpetrated on behalf of franco against the civilian population of a little basque village in northern spain. chosen for bombing practice by hitler' s burgeoning war machine, the hamlet is pounded with high - explosive and incendiary bombs for over three hours. townspeople are cut down as they run from the crumbling buildings. guernica burns for three days. sixteen hundred civilians are killed or wounded .
i' m cold... so cold... : actually, heydrich says
it' s getting dark
right before he croaks .
is not at all what pablo picasso has in mind when he agrees to paint the centerpiece for the spanish pavilion of the 1937 world' s fair .
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– bruce reid’s “ all the genre allows, ” an appreciation of douglas sirk written to celebrate a 1999 sirk retrospective in seattle and published in the stranger .
german filmmaker douglas sirk (né hans detlef sierck) directed almost 40 films in a career that spanned three decades. a late bloomer known for grand, gorgeously expressive and emotional melodramas in the 1950s, he took a third of his career to hit full stride. the early movies were comedies, glossy adventure stories and war dramas. during his days working in germany the director was heavily censored and when he escaped to the united states in 1937 he found himself stifled once again, “a director in hollywood in my time couldn’t do what he wanted to do, ” he once said. 1942’s vengeful, vehemently anti - nazi “ hitler’s madman ” only really existed because it was seen as patriotic, and films sirk made as late as 1952, like “ has anyone seen my gal? ” featuring his broad - shouldered go - to male muse rock hudson, were insubstantial trifles compared to his mature work. that film, lightweight comedy though it is, does still possess hints of commentary on class, status, money and the sickening desire for it all — themes sirk would explore, and quietly explode, in his best work .
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a virtual pariah after the war, riefenstahl was a strenuous advocate for her rehabilitation. her comeback suffered a major setback with susan sontag’s 1975 essay “ fascinating fascism ” — which eviscerated the artist’s whitewashing of her past — but riefenstahl was embraced by many cinéastes. she was honored by the telluride film festival and profiled in vanity fair. the critic john simon called her “one of the supreme artists of the cinema. ” “triumph of the will” was named to anthology film archives’ canon of “essential cinema. ” the shot in which hitler and two associates solemnly walk through the assembled mass is quoted in the ceremony that concludes the 1977 “star wars. ”
inspired by true events, douglas sirk' s first american film is a powerful tale of the czech resistance in wwii, with john carradine as the vicious nazi commander .
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arcadia: lidice, a lovely peaceful quiet farming village, as shown in the opening montage that quotes edna st. vincent millay' s poetic novel the murder of lidice .
, but the film still takes many liberties. possibly justified as it was made barely a year after heydrich' s assassination and the details still weren' t well known .
no doubt, “the downfall” has triggered a renewed public debate, not only in germany, but across europe, on what many call
germany' s biggest trauma. ”
' i recognised that it was hitler from his uniform and his distinctive moustache. i had seen the fuehrer alive that morning sitting in his favourite wicker chair. later in the day, before the suicides, i recalled seeing four men arrive with gasoline cans which they said was for the air conditioning system inside the bunker .
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is acclaimed as an artistic masterpiece, taking its rightful place among the great spanish treasures of el greco, goya and velazquez .
a lot of people recognize the painting ,
says art historian patricia failing .
they may not even know that it' s a picasso, but they recognize the image. it' s a kind of icon .
in 1973, pablo picasso, the most influential artist of the twentieth century, dies at the age of ninety - two. and when franco dies in 1975, spain moves closer to its dream of democracy. on the centenary of picasso' s birth, october 25th, 1981, spain' s new republic carries out the best commemoration possible: the return of
sirk’s body of work was reevaluated by the cahiers du cinema crowd, but there’ve been many others who have helped. rainer werner fassbender was a huge proponent of sirk’s work and remade “all that heaven allows” as “ ali: fear eats the soul. ” in fact, many of his pictures were heavily indebted to sirk’s style including the sumptuously colorful “ lola. ” the echoed influence was then carried down to todd haynes, indebted to both filmmakers, who made a homagistic pastiche of their work with “ far from heaven. ” quentin tarantino was also a fan and there’s an iconic line in “ pulp fiction ” when vincent vega (john travolta) orders the douglas sirk steak, which he makes sure is prepared “bloody as hell. ”
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let’s not forget that many of sirk’s best movies were remakes — and all remakes of 1930s john m. stahl films, including “magnificent obsession, ” “imitation of life” and “ when tomorrow comes ” which sirk made into the now the hard - to - find “ interlude ” (which has been called an unsung masterpiece by richard brody .) three other key films in sirk’s oeuvre, aside from “interlude” are “ all i desire ” starring barbara stanwyck, which feels like more of a test run for the sumptuous female - led melodramas he became famous for and “ a time to love and a time to die ” which blended his extravagant style with his penchant for war dramas. also of note is 1949’s “ shockproof ” written by samuel fuller and starring actor and sometime director cornel wilde .
a supremely artful feature - length recording of the 1934 nazi party congress, commissioned, according its credits, by order of the führer, “triumph of the will” raises a host of moral and aesthetic questions. (the only real equivalent is d. w. griffith’s white supremacist magnum opus, “the birth of a nation. ”) is “triumph of the will” a brilliantly innovative documentary? is it a propaganda masterpiece? a work of art — or simply, as zero mostel says in “the producers” of his calculated broadway flop, “a love letter to hitler” ?
rialto. for here in one lurid diatribe, mgm' s assortment of authors have summed up practically every indictment against the nazis that they could crowd into one film. view full article in timesmachine »
the lang film is, i think, superior all round, but the two make interesting companions and sirk' s is tougher, in a way. lang' s movie, originally written by brecht, attempts to build in a small victory, as a villainous collaborator is framed for the assassination. sirk ends with the death of lidice and its populace as spirits, calling for the audience to avenge them .
gardner is barbara beaurevel, a poor new orleans beauty, circa 1890, who inherits a fortune from her grandmother. but the family' s money may have been earned by less - than - reputable means, which could spell disaster for the newly - respectable barbara. amid opulent sets and lavish costumes, gardner' s barbara is determined to use the new funds to win the love of married man dr. mark lucas (mitchum). helping in the break - up scheme is her cad cousin paul (melvyn douglas), who' s been told to woo the doctor' s wife. but when the wife (janis carter) dies, dr. lucas is accused of murder. barbara comes forward at the last minute to clear his name, at the cost of revealing her sordid family background to the town .
“ the tarnished angels ” (1957) a type of companion piece to “ written on the wind, ” sirk’s antepenultimate film again featured the same producer / screenwriter and the trio of rock hudson, robert stack and dorothy malone. shot in black and white by irving glassberg and based on william faulkner ‘s “ pylon, ” this melodrama exploited the unlikely intersection of aviation and obsessive love in another quadrangle, like ‘wind. ’ “i need this plane like an alcoholic needs his drink, ” roger shumann (played by stack) says in his raison d’être soliloquy. hudson stars as burke devlin, a new orleans reporter intrigued by a peculiar gypsy aviation trio making ends meet in the depression - era carnival circuit by racing and pulling off stunts at rural air shows. shumann, a disillusioned wwi vet, cares for nothing but flying. not even his wife laverne (malone) a daredevil parachutist, his loyal mechanic jiggs (jack carson) or his doting son jack (christopher olsen) can penetrate his compulsion to fly — it’s the only thing in life he seems to do right. devlin, selfishly only sees a story at first, but soon becomes enamoured of the loveless laverene and discovers the true nature of this trio’s already blemished history together. while captivating, it’s perhaps not quite as absorbing as sirk’s expressive color pictures of the 1950s. still, it’s artistically ambitious and due for re - evaluation, not to mention a new transfer that highlights its somber and hard - fought mood .
was a test of the public' s acceptance of mitchum' s own recent past: the actor had been jailed briefly on marijuana charges in 1949. studio chiefs and theater owners were anxious about how mitchum would be received by fans, but they shouldn' t have worried. the prison stint seemed to accentuate mitchum' s bad - boy persona, and swooning and screaming women greeted the actor at his appearances to promote the movie .
while ava gardner is receiving a wonderful reception, all bedlam breaks loose when mitchum appears on stage. he had to take five encores at the first show ,
one theater manager wrote to hughes .
lang, however, is interested in complexity: when the nazis take hostages and threaten to execute them unless heidrich' s assassins surrender themselves, a powerful moral conundrum is illuminated. sirk' s film, with ralph morgan as mouthpiece, actually argues that complexity is a confounding illusion and that everything really does come down to simple questions of right and wrong: a defensible position if you have a figure like heydrich to represent wrong .
' she didn' t get those from me': kylie jenner says daughter stormi has dad travis scott' s lips... as star reveals her breasts are' three times the size' post - baby
the nuremberg laws, for example, discriminated against jewish people. before the holocaust began, hitler intimated his intentions when he commented on those laws in september, 1935: “the third [ law ] is an attempt to regulate by law [ the jewish ] problem, which, should this attempt fail, must then be handed over by law to the national - socialist party for a final solution. ”
wpg begat a series of sequels (1929 - 1933) in which marines quirt and flagg have post - war adventures, with a new woman in each sequel. this was followed by john ford' s 1952 remake .
was an effective and timely reaction to the front page news headlines of its day. heydrich' s death occurred in june 1942 and the film was in theatres a year later. (sirk claimed to have actually met heydrich during a ufa party in the early 1930s .) there is also a key scene in the film that references a renowned american poet. shortly after the notorious massacre in lidice, the writer' s war board asked edna st. vincent millay for a poem about the incident. the resulting work -
the murder of lidice
- appeared as a radio broadcast heard across the country on nbc' s network and was sent by short - wave to europe .
two films about the same subject could hardly be more different. lost command draws on jean larteguy' s novel the centurions, about french paratroopers fighting in vietnam and algeria. it' s unreservedly pro - french, albeit with a token war is hell message added. battle of algiers is a docudrama produced by italian director gillo pontecorvo and sponsored by the algerian government. though intended as algerian propaganda, it provides a relatively even - handed treatment of the conflict .
joining the abwehr (the german military intelligence organization led by hitler - hating admiral wilhelm canaris), bonhoeffer (and others like him) got access to vital war information. what better way for people working against the third reich to pass key information to anti - nazi contacts? but the price of such efforts, if one were suspected as a spy (and caught), was life in a concentration camp (or worse) .
one of sirk' s best players is a real german, johanna hofer (not even credited), wife of the great actor fritz kortner. if the film has a sirkian heartbreak moment, it' s from her, as she learns of the deaths of her sons on the eastern front, which triggers her defection from the nazi cause. if sirk had a cast as uniformly good as carradine and hofer, he could have made a classic. shortly later, he would ...
when douglas sirk left germany shortly after the nazis came to power, he was one of that country' s better - known directors, having made several well - received films with top stars. he arrived in the u. s. late in 1937 and because he was an unknown talent in hollywood, he had to rebuild his career from the ground up, writing screenplays for columbia and making low - budget films for small studios. a good example of the latter is his first american movie ,
challenges our notions of warfare as heroic and exposes it as a brutal act of self - destruction. but it is a hallmark of picasso' s art that any symbol can hold many, often contradictory meanings, and the precise significance of the imagery in
one of the enduring questions that has tormented the jews of europe who survived the holocaust is whether or not they might have been able to escape the holocaust had they acted more wisely. a shrouded doom hangs behind every word in this first section of night, in which wiesel laments the typical human inability to acknowledge the depth of the cruelty of which humans are capable. the jews of sighet are unable or unwilling to believe in the horrors of hitler’s death camps, even though there are many instances in which they have glimpses of what awaits them. eliezer relates that many jews do not believe that hitler really intends to annihilate them, even though he can trace the steps by which the nazis made life in hungary increasingly unbearable for the jews. furthermore, he painfully details the cruelty with which the jews are treated during their deportation. he even asks his father to move the family to palestine and escape whatever is to come, but his father is unwilling to leave sighet behind. we, as readers whom history has made less naïve than the jews of sighet, sense what is to come, how annihilation draws inexorably closer to the jews, and watch helplessly as the jews fail to see, or refuse to acknowledge, their fate .
der untergang
or
the downfall ,
a film directed by oliver hirschbiegel and produced by bernd eichinger, takes a less historic and more personal approach toward the topic of germany' s nazi past, one that german filmmakers have hesitated to touch until now .
in this story behind the movie, meet dietrich bonhoeffer and claus von stauffenberg. see the effects of the bomb blast on wolf’s lair, and examine how it appears today. virtually visit the concentration camp at flossenburg, and learn what happened to camp prisoners just before flossenburg was liberated .
catch - 22, despite an all - star cast, got tepid reviews and flopped. m * a * s * h was a huge success, made robert altman famous, inspired an even more successful tv series, and helped usher in the' 70s auteur era in general .
production numbers aside, “triumph of the will” is devoted largely to speechifying. while hitler is a star performer, who practiced his histrionic gestures before a mirror, his colleagues are not. so stupefying are their exhortations and oaths of fealty, the movie might have been made as much to lull as to agitate. by the time it ends, after a lugubrious third nighttime rally, with a mass rendition of the nazi anthem “the horst wessel song, ” you expect to see a giant swastika go into a hypnotic spin .
sirk intended his movie to be “almost like a documentary, ” carradine’s cold, self - dramatizing impersonation not least. the filmmaker had once met heydrich at a berlin reception. “carradine was heydrich, ” he told an interviewer, adding, “a lot of nazis behaved like shakespearean actors. ”
the lipsmacking menace of heydrich, much of it sexual, stands in contrast to lubitsch' s subtler work in to be or not to be, where that other great german cineaste used the idea that his nazis had so over - indulged in cruelty as to be bored by it, to justify laid - back performances that eschewed propaganda cliché. it' s a more cunning approach, but if we must have leering, beady - eyed nazis, then carradine, gloating over teenage czech students arranged in some kind of horrific sex line - up, is an unbeatable manifestation of human monstrousness .
2001 war / actions films released a little less than a month. each set within the backdrop of a war during the 1990' s and centered around american troops who after a mission into hostile territory goes awry must survive the onslaught of the surrounding enemy and try to make it out alive .
the nazis then begin to deport the jews in increments, and eliezer’s family is among the last to leave sighet. they watch as other jews are crowded into the streets in the hot sun, carrying only what fits in packs on their backs. eliezer’s family is first herded into another, smaller ghetto. their former servant, a gentile named martha, visits them and offers to hide them in her village. tragically, they decline the offer. a few days later, the nazis and their henchmen, the hungarian police, herd the last jews remaining in sighet onto cattle cars bound for auschwitz .
from the beginning, picasso chooses not to represent the horror of guernica in realist or romantic terms. key figures - a woman with outstretched arms, a bull, an agonized horse - are refined in sketch after sketch, then transferred to the capacious canvas, which he also reworks several times .
a painting is not thought out and settled in advance ,
said picasso .
while it is being done, it changes as one' s thoughts change. and when it' s finished, it goes on changing, according to the state of mind of whoever is looking at it .
still coming to terms ”the downfall” is probably the most controversial of a number of german films in production that deal with the country' s nazi past. a three - part television series on nazi propaganda minister joseph goebbels and a film called
the goebbels experiment
is to follow later this year.
hitler 's madman is a 1943 world war ii film about the assassination of nazi reinhard heydrich and the lidice massacre revenge taken by the germans . the picture was produced by seymour nebenzal for prc and angelus pictures , inc . it starred patricia morison and featured john carradine as heydrich . the shooting of hitler 's madman took place late in 1942 and early 1943 . sirk hired german cinematographer eugen schüfftan to shoot the film , but since he was not allowed in the united states at the time , the credit was instead given to jack greenhalgh . when hitler 's madman was finished , mgm 's louis b. mayer bought the production ( reshoots were made in mgm 's own studios ) , making it one of the few , and possibly the first , film originally from another company to be distributed by mgm . 
hitler's madman is a 1943 world war ii film about the assassination of nazi reinhard heydrich and the lidice massacre revenge taken by the germans. the picture was produced by seymour nebenzal for prc and angelus pictures, inc. it starred patricia morison and featured john carradine as heydrich. the shooting of hitler's madman took place late in 1942 and early 1943. sirk hired german cinematographer eugen schüfftan to shoot the film, but since he was not allowed in the united states at the time, the credit was instead given to jack greenhalgh. when hitler's madman was finished, mgm's louis b. mayer bought the production (reshoots were made in mgm's own studios), making it one of the few, and possibly the first, film originally from another company to be distributed by mgm.
hitler's madman is a 1943 world war ii film about the assassination of nazi reinhard heydrich and the lidice massacre revenge taken by the germans. the picture was produced by seymour nebenzal for prc and angelus pictures, inc. it starred patricia morison and featured john carradine as heydrich. the shooting of hitler's madman took place late in 1942 and early 1943. sirk hired german cinematographer eugen schüfftan to shoot the film, but since he was not allowed in the united states at the time, the credit was instead given to jack greenhalgh. when hitler's madman was finished, mgm's louis b. mayer bought the production (reshoots were made in mgm's own studios), making it one of the few, and possibly the first, film originally from another company to be distributed by mgm.