DATELINE: Singing in the Reich
If imitation is a sincere form of flattery, Hitler’s attempt to copy Hollywood movies is indeed a nasty compliment. Hitler’s Hollywood is a horrid misnomer.
During the years 1933 to 1945, there was a thriving movie business under the Nazis in Germany, run by Joseph Goebbels, the propaganda minister of notoriety.
Hitler loved movies—and his studios planned to give him an exact duplicate of the big boffo productions out of Hollywood.
If he couldn’t have Garbo, he had Ingrid Bergman in one movie before she cleared out of the Third Reich for Rick’s Café in Casablanca.
The Germans loved musicals with numbers more extravagant than the Busby Berkley movies. They were overlaid, however, with nasty digs at Jews at every turn in subtle fashion. Then, there were the outright anti-Semitic films.
There were about a 1000 movies made by the German state studio with their own star system: comedy, melodrama, and historic epics, but never science fiction or horror. In fact, the melodrama featured so much fantasy and nightmares to the Aryan heroes that they turned into horror pictures.
The Nazis never knew irony.
If there was a steady theme, it was the glorification of death for the Fatherland. Good Germans dying for their country was a common theme.
As the war proceeded and was undermining morale, the films started to be oriented for female audiences—and in glorious technicolor. But the wild extravagance was panic to keep the home audiences on target.
The version of the Titanic sinking was blamed on the Jewish financiers, and then was banned from showings in Germany itself by Goebbels.
The entire documentary is narrated in creepy fashion by Udo Keir—and is hypnotic, horrifying, and surprising.