- 23 minutes ago
Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use
Category
📚
LearningTranscript
00:00We have ways of making you think.
00:42At his country retreat in a forest north of Berlin, Dr. Joseph Goebbels would sit late into the night in
00:48his private cinema and watch his favourite propaganda films.
01:13Goebbels, the most intellectual of the Nazi elite, most valued films which contained entertainment.
01:28Goebbels' favourite Hollywood films were Gone with the Wind and Snow White and the Seven Dwarves.
01:33In his diary, he called Disney's Snow White an artistic delight.
01:47Allied accounts of Joseph Goebbels dismissed him as a crude propagandist, but the reality was very different.
01:53Goebbels was a propaganda genius, his work vital to Nazi success.
02:07Goebbels' diaries reveal that he was a man obsessed with film.
02:10He watched everything, from Battleship Potemkin to Ben-Hur, from Greta Garbo to Shirley Temple.
02:16The Nazis came to power, the study of film technique was only a hobby for Goebbels.
02:27A man who had drifted aimlessly after university, before joining the Nazi party in 1924 and rising to head the
02:34party propaganda machine.
02:36But as he voted in the general election of 1933, he must have realised that if Hitler gained power over
02:42the German people,
02:43then he, Joseph Goebbels, would gain power over the German cinema.
02:48The German people today must prove its unity and its freedom today.
02:58After Hitler became Chancellor of Germany, he made the 35-year-old Goebbels Minister for Popular Enlightenment and Propaganda.
03:05And the new minister had one overriding priority.
03:08Er sah im Film die Verkörperung des Mediums, das am intensivsten in der Lage war, auf die Seele und auch
03:20auf das Unterbewusste der Menschen einzuwirken.
03:24Er stellte deswegen also das Medium Film weit über alle anderen Medien der bildenden Kunst, der Presse.
03:31German film directors competed to work for the Nazi party.
03:35They thought Goebbels would admire obvious propaganda, like Hitler-Junger Quecks,
03:39a film about a Hitler-youth who dies for the Führer.
03:42A film by Molly and ziemlich
03:42Nothing about a Hitler-youth who dies for the Führer.
03:57Unsere Fahne plattert uns.
04:04Unsere Fahne plattert uns voran.
04:06Unsere Fahne plattert uns voran.
04:06Unsere Fahne plattert uns voran,
04:07In die Zukunft wie submitt leart, wie im Sellin,
04:10wie im Dunkeln, wie im 240-jinns,
04:18But in fact, once Goebbels saw the film, he hated it.
04:58Goebbels' insight was that entertainment was the best propaganda.
05:12Er war der größte Unterstützer des Unterhaltungsfilmes, weil er ein Film nah war, gerne hübsche Frauen sah.
05:24Also er hatte im Grunde genau dasselbe, was das Publikum wollte.
05:39Die politische Absicht des unpolitischen Filmes war die, jedes unpolitischen Filmes hat einen politischen Zweck.
05:52Das Publikum von der Straße wegzubringen, von den Sorgen des Haushaltes, von den Sorgen der Familie, von Liebes und so
06:01weiter zu unterhalten.
06:10The poison pill was sweetened.
06:14The Borgers poisoned you, they put it into a goblet of wine or into a ring and a slight prick
06:22in the finger.
06:24He knew exactly what he did.
06:36At Babelsberg, just west of Berlin, Goebbels oversaw a massive film factory.
06:42About 90% of the films controlled by Goebbels and his ministry had no overt propaganda content.
06:48This was a place designed to produce entertainment.
06:53Babelsberg fell into Russian hands at the end of the war,
06:55and much of it remains as the Nazis left it.
06:58The prop and costume stores still containing relics of the Third Reich.
07:05In the same studio where Fritz Lang shot Metropolis, Rudolf Klix worked as an actor nearly 60 years ago.
07:12This place in Germany, Babelsberg, should be the greatest place for film in whole Europe, greater than Elstry and greater
07:21as in Paris.
07:23And it develops as a center of the film industry.
07:26This was a beautiful time, because it was a magnate.
07:30Is this right, the word magnate?
07:31Because everybody is how a great family.
07:36That's really, if it was a simple worker or a highest director.
07:40This was one group to work the beautiful atmosphere of the film.
07:46This was the dreaming of each life. Do you see?
07:50One actress who began her career at Babelsberg was Margot Heelscher.
07:54It was very glamorous, and it was very, very big.
07:57And being a newcomer, in my case, you, of course, adored every little corner.
08:03It was so much alive and so many brilliant directors, actors, actresses, cameramen.
08:12It was so... an atmosphere is hard to describe.
08:16It was so alive and so important and so overwhelming.
08:21Margot Heelscher's first role was in a costume drama set in the 16th century.
08:30Now I kiss you, who can be that?
08:35I kiss you, who can be that.
08:48That's one you, the most.
08:51Margot Goebbels, I kiss you, who, is in good place.
08:58And that's one who was in a job.
09:02I kiss you, I kiss you, I kiss you, I kiss you, I kiss you.
09:05We would like to have Margot Hilton.
09:07He had to say yes.
09:09If he would have said no, I wouldn't have gotten the part.
09:12His influence was just endless.
09:18A grateful German film industry paid for the building of Goebbels' luxury villa at Lanka,
09:23with its air conditioning, central heating and electric windows.
09:27Until recently, the house was owned by the East German Communist Party,
09:31and photography of it was forbidden.
09:34Wilfred von Oven worked alongside Goebbels for much of the war.
09:38This is the first time he has been able to visit Lanka since the autumn of 1944.
10:05The first time he was born, the first time he was born, the first time he was born.
10:13of the land life and, as I said, we were often sitting there and then
10:19Goebbels made one of his tricks and he was then also the
10:27all of the guests, I had that...
10:30Do you remember that before 40?
10:32Yes!
10:34Then he was again, like I am now
10:36and that I can do it today, that's great!
11:04In December 1931, Goebbels married Magda Quant. Adolf Hitler was a witness at the wedding.
11:14German propaganda newsreels portrayed Magda, the ex-wife of a wealthy industrialist,
11:18as the epitome of Aryan womanhood. And the children she and Joseph Goebbels produced
11:23completed the image of the perfect National Socialist family.
11:47Joseph Goebbels' only criticism of his children was that they were too well behaved.
11:51They were rewarding, the children. Very, very rewarding, without any arrogance.
12:00Very loving, nice, well-trained children. Very furchtably nice.
12:18But the propaganda image of Goebbels' happy marriage was a sham. For the Reichsminister wasn't only obsessed with film, he
12:26was also obsessed with actresses.
12:28He was very charming. You'd very seldom find the position or the possibility to say a man has charm, like
12:41Maurice Chevalier or some of the big movie stars who had, and still some have.
12:46But he had charm. He was very charming. He knew how to handle a woman.
12:53Beneath his charming facade, Goebbels lived a life at odds with his own propaganda.
12:58His propaganda said that all Germans should only own one home, yet he owned several.
13:03His propaganda insisted that all Germans should despise decadence, yet he secretly went to nightclubs.
13:09His propaganda called for all Germans to be happily married, yet he habitually cheated on his wife.
13:15One of the many women he pursued was Margot Hilscher.
13:18He called at night, very late, 11 o'clock, sometimes close to midnight, and he always named himself Herr Müller.
13:30And the telephone was in my father's room, so he answered the phone, and he came to our room when
13:37Anita, my sister, and I were sleeping,
13:39and he said, Margot, this Mr. Müller wants to talk to you. I have that terrible feeling this is not
13:49Mr. Müller at all.
13:51Sounds like Goebbels. And it was Goebbels.
13:54Margot Hilscher rejected Goebbels' advances and found herself out of work.
14:04But many others succumbed.
14:26All the actresses Goebbels slept with were casual affairs, with one exception, the Czech actress Lida Barova.
14:32He was very smart, very, very...
14:39Also, sarkastisch konnte er sehr sein. Er hat seinen Kollegen nachgemacht.
14:44Und wir haben viel gelacht. Und wir haben uns sehr gut verstanden.
14:49Viele Leute sagen, er wäre ein Teufel. Er ist zu mir nie so gewesen.
14:54Ich kann es leider nicht sagen. Zu mir war er immer furchtbar nett.
15:00Ich habe die ganze Welt gesehen.
15:04Wo war der Gaskolmiss hinauf zum goldenen Tod.
15:08Doch seh dich mich zurück in jedem Augenblick.
15:12Nach dieser Stadt, in der ich froh sein kann.
15:15Goebbels was infatuated with Lida Barova, and the affair lasted from 1936 to 1938.
15:25Though Goebbels had married Magda, the perfect propaganda image of a German Aryan wife,
15:30he had always found dark-haired women more attractive.
15:34Barova was a Slav, one of a racial type he was later to call subhuman.
15:38But it didn't matter. He was crazy about her.
15:47Ich habe ihn geliebt auf meine Weise. Ich war sehr jung.
15:55Sie dürfen nicht vergessen, ich war 22 Jahre alt.
15:59Und da ist man ja sehr anfällig für diese Sachen.
16:06Ich habe eigentlich seine Liebe geliebt.
16:10Er hat mich so sehr geliebt, dass ich der Liebe verfallen bin.
16:15News of the affair reached Hitler.
16:18He was furious.
16:19He realized it would be a propaganda disaster,
16:22if Goebbels abandoned his wife Magda.
16:24So he told Goebbels to stop seeing Lida Barova.
16:27To begin with, Goebbels defied him.
16:31Goebbels wollte abdanken
16:34und wollte nach Japan als Konsul gehen
16:39und sagte, wenn ich Krawatten verkaufen müsste in Japan,
16:43dann ist es mir egal, aber ich möchte abdanken.
16:47Da hat Hitler einen fürchterlichen Krach gemacht
16:51und hat natürlich getobt.
16:53Er hat den Goebbels gebraucht,
16:54weil er konnte das nicht annehmen.
16:57Und hat da so einen Krach gemacht.
17:01Und dann hat er gesagt,
17:02also gut versucht, zusammen drei Monate zu leben.
17:09Und wenn nach drei Monaten ihr mir sagt,
17:13dass ihr nicht miteinander leben könnt,
17:16dann gebe ich euch die Scheidung.
17:19Das war natürlich nicht so gedacht.
17:23Er wollte nur Zeit gewinnen.
17:25Goebbels broke up with Barova.
17:27He knew he dared not go against Hitler's express wishes.
17:33Sie sehen über sich einen Mann als Führer von Volk und Staat,
17:37der zur gleichen Zeit auch ihr mächtigster
17:40und verständnisvollster Beschützer ist.
17:43Er liebt...
17:52Der Führer liebt die Künstler, weil er selbst ein Künstler ist.
17:58Goebbels sought to create a Führer myth.
18:00Through the newsreels, Hitler was portrayed as a man apart,
18:03a man of superhuman ability
18:05who had sacrificed himself for his nation.
18:15Goebbels brought his love of Hollywood epics like Gone with the Wind
18:18to the construction of the Nazi newsreels,
18:21ordering that these short films concentrate not on information and facts,
18:24but on emotion and entertainment.
18:28Hans Felt was a film critic in Germany
18:30before he was forced by Goebbels to leave the country
18:33in the purge of Jews from the film industry.
18:38He has studied the film techniques used in Goebbels' newsreels.
18:41I would say that was a choreographed like a orchestra, like a symphony,
18:49that it's a score, marrying of sound, music and vision.
18:56The rhythm of the marching, the massed ranks.
19:01Then you have got the solitary figure of the leader.
19:04Whenever, whenever you see the outstretched arms,
19:09the Roman greeting,
19:12when you see the masses,
19:13and that is accompanied by passionate music,
19:18it's like a drug.
19:22Feeling, emotion,
19:24because you can only be driven to a hero's death by emotion.
19:30The close-up are a point of concentrated power.
19:36You see that Nazi in half-profile.
19:40It is composed strength,
19:42and then you have got the swastika marching at you, grabbing at you,
19:47and you become part of it.
19:49And then you see your comrades.
19:54You are not alone.
19:58And you are obviously a father figure,
20:01the leader,
20:01El Cid,
20:03Charleston Heston.
20:06And it is carefully prepared
20:09to be built up to a climax.
20:11Our German people,
20:14and our German army,
20:16victory!
20:17victory!
20:18victory!
20:27Like a Hollywood producer,
20:29Goebbels was careful not to overexpose his greatest style.
20:35Goebbels preferred the Führer to appear only in short newsreels.
20:45Hitler had other plans.
20:49He personally approached a young filmmaker and actress called Lenny Riefenstahl,
20:53seen here in SOS Iceberg.
21:01Hitler asked Riefenstahl to make a feature-length film about him.
21:04He was very natural,
21:06he had spoken like another person to me,
21:08and only about my work.
21:11So, it was not difficult to speak with him.
21:14He had never spoken about things that I don't understand,
21:19only what happened with my work.
21:21And, naturally, in this time,
21:24he was for me a very important person,
21:29and I was very proud that he had such confidence to me.
21:33One of Riefenstahl's friends in 1933 was Hans Feld.
21:38She was full of enthusiasm.
21:40She had to tell us something.
21:42She had met the leader of the Nazi party, Adolf Hitler.
21:47And he told her that he had always been an admirer of her films.
21:52She must have noticed that something was wrong when he had finished her story,
21:58because she hastened to say that she was convinced that once he would come to power,
22:05all these excesses would be swept away.
22:11My wife and I were rather perturbed,
22:15and we founded the chilling experience.
22:18After that, we withdrew.
22:26The opening shots in Riefenstahl's film of the 1934 Nazi rally in Nuremberg became famous,
22:32the plane carrying the godlike Führer from the skies.
22:39I have had only one idea.
22:42It was the first time it was done.
22:43I think everything must be moving.
22:46And to do this was new.
22:48And so my cameraman, I mentioned this,
22:53that the cameraman takes roll-shoes.
22:55I don't know in English what it is.
22:57Roller-skates.
22:57Roller-skates.
22:58So they tried to make this with roller-skates.
23:01Before them, the new reels make all this still, yes?
23:04Not moving, or only so a little bit, but not really moving.
23:09And that was new.
23:09And I feel the real noise of this, and that gives it life.
23:35The somberness of the triumph of the will went against Goebbels' theory that film propaganda must always be entertaining.
23:42And there was also a more personal reason why he had a problem with the film.
24:05The experiment of a feature-length documentary portrayal of Hitler was not repeated after triumph of the will.
24:12Goebbels used his close relationship with Hitler to ensure that whenever the Fuhrer was shown in feature films, it was
24:18like this.
24:42And then there was war.
24:50When the declaration of war came from Great Britain, at the 3rd of September at 11 o'clock, Goebbels said,
24:59Everybody could hear, Herr von Ribbentrop, this is your war.
25:04How we begin a world war, we know it now. How we can end it, we don't know.
25:11One of the few period buildings left standing in Berlin houses the recording studio where one of Goebbels' favourite composers
25:18worked during the war.
25:20Norbert Schulze, the man who composed Lily Marlene.
25:23And she is still in the last 20 o'clock in Berlin.
25:27And he stood for a moment, so we want to see each other again.
25:30We want to stand at the Laterne
25:35Like once, Lieberlin
25:40Like once, Lieberlin
25:49Goebbels recognized the potential propaganda power of music
25:52and hugely valued the work of Norbert Schulze,
25:55even calling him out to his country house to advise him personally.
25:58Und dann fuhren wir raus nach Lanke, es dem Minister vorspielen.
26:03Ich dachte erst, naja, was wird der denn dazu sagen?
26:08Der versteht doch nichts von Musik.
26:10Ha, ich wunderte mich, ich kam da rein,
26:13er setzte sich zu mir auf die Klavierbank und guckte in meine Noten
26:18und sagte dann, lassen Sie mich mal.
26:20Ich musste zur Seite rücken, dann setzte er sich neben mich und spielte
26:25und sagte, die Stelle gefällt mir nicht.
26:29Führer, Befehl, wir folgen dir.
26:33Das ist so altertümlich.
26:35Warum machen Sie nicht?
26:38Führer, Befehl, zwei, drei, wir folgen dir.
26:43Und dann habe ich gesagt, Sie haben recht, Herr Minister,
26:47es ist besser.
26:48Es ist propagandistisch wirkungsvoller,
26:52diese kurze Form.
26:57Nun hieß es ja, unser neuer Feind England,
27:00am Schluss muss also ein tolles Fliegerlied,
27:03der Kampf gegen England.
27:07Ich habe die Musik gemacht
27:08und leider hat das eben beim Publikum eingeschlagen.
27:12Es war ein Schlager von Marsch.
27:14Es war mehr ein Schlager als ein richtiges Marschlied.
27:18Die Jüngsten der Waffen, dem Feuer, dem Aufruf und der Reich.
27:24Vom Rhein bis zum Meer, das fliegende Heer,
27:28so stehen wir zum Einsatz bereit.
27:31Wir stellen den britischen Löwen
27:34zum letzten entscheidenden Schlag.
27:38Wir halten Gericht, ein Weltreiter bricht,
27:42das wird unser stolzester Tag.
27:45Kamerad, Kamerad.
27:49Alle Wegen zwischenhanden.
27:53Kamerad, Kamerad.
27:57Der Begegnis, da wir standen.
28:00Kamerad, Kamerad.
28:03Kamerad, Kamerad, Kamerad.
28:04Wie losgeschmackt,
28:08Rant an den Feind.
28:10Rant an den Feind.
28:12Rant an den Feind.
28:12Rant an den Feind.
28:13Rant an den Engeland.
28:15Das war, Romen auf Engeland.
28:17Ich habe mir gar nichts dabei gedacht damals.
28:20Ich bin später gefragt worden,
28:23dann hat man gesagt,
28:24wie konnten Sie denn als ein gebildeter Mensch
28:26Bomben auf England, auf eine Kulturnation.
28:29Dann habe ich gesagt,
28:30ja mein Gott, wo sollten denn unsere Flieger,
28:33die Bomben abwerfen,
28:34das war doch unser Feind.
28:35Also natürlich auf Engeland.
28:38So naiv habe ich das damals empfunden.
28:46When the Nazis needed a film attack on Britain,
28:49the result was classic Goebbels propaganda.
28:56Soldiers of Tomorrow confirmed the German view
28:58that the British upper class were decadent and effeminate.
29:01Goebbels almost never tried to change the German view
29:04about anything.
29:05His secret was to reinforce
29:06previously held prejudices
29:08in an entertaining way.
29:09Alles fängt in jungen Jahren an.
29:13Denn jung gewohnt ist selbstverständlich alt getan.
29:21Wissen Sie, Herr von Ofen,
29:24Propaganda ist wie ein Geleitzug im Kriege,
29:29der also nun unter schwerer militärischer Bewachung
29:32sich da seinen Weg an sein Ziel bahnen muss.
29:35Und der muss seine Marschgeschwindigkeit
29:39auf das langsamste Schiff der Gruppe abstellen.
29:43So ist das auch bei uns.
29:45Wir müssen unsere Propaganda,
29:48jede sophistizierte Propaganda
29:51ist viel am Platz.
30:15Hitler did not approve of all Goebbels' theories
30:17of Propaganda.
30:18Their differing approach
30:20was exposed in 1940
30:21when Hitler ordered film propaganda
30:23against the Jews
30:24to prepare the German public
30:26for the final solution.
30:30Berchtesgaden,
30:30the site of Hitler's mountain retreat,
30:32is also the retirement home
30:34of Fritz Hippler,
30:35the director of the most infamous
30:36anti-Jewish film ever made.
30:38Hier oben ist der Ober Salzberg.
30:41After the war,
30:41Fritz Hippler was cleared
30:43of any war criminal charges.
30:44Auf dem hat Hitlers Haus gestanden.
30:48Hier war er,
30:49wenn er nicht in Berlin war.
30:52Hier hat er seine Gäste empfangen.
30:56Fritz Hippler traveled to Poland
30:58and filmed the Jews
30:59in the Warsaw Ghetto.
31:00Hitler wollte mit diesem Film
31:02sozusagen den Beweis führen,
31:04dass das Judentum
31:10eine Parasitenrasse sei
31:12in der Menschheit
31:16die von der übrigen Menschheit
31:19zu trennen sei.
31:21Dafür sollte dieser Film
31:23ein Beweis sein.
31:24The material was edited
31:26into a documentary
31:27called The Eternal Jew.
31:34There were disagreements
31:35in the cutting room
31:36as to what the tone
31:37of the final film
31:38should be.
31:39Und über 13 Monate hindurch
31:41wurde dieser Film
31:43mindestens an die
31:44dutzend Male
31:45geändert,
31:47umgeschnitten,
31:48ergänzt
31:49und so weiter,
31:51ganz zu schweigen
31:52von den verschiedenen
31:54fassungen
31:55des Begleittextes,
31:57der immer blutrünstiger,
31:59immer kämpferischer wurde.
32:00It now seems
32:01that it was Adolf Hitler
32:02himself who ordered
32:03that the film
32:04be so horrific,
32:05finally insisting
32:06on the inclusion
32:07of rats.
32:11Wo ratten auch auftauchen,
32:13tragen sie vernichtung
32:14ins Land.
32:15Zerstören sie menschliche
32:16Güter und Nahrungsmittel.
32:18Auf diese Weise
32:19verbreiten sie Krankheiten,
32:21Pest, Lepra,
32:22Typhus, Cholera,
32:24Ruhr und so weiter.
32:25The film was a disaster
32:26at the box office.
32:28It was so crude
32:28that some of the audience
32:30fainted.
32:31Sie sind hinterlistig,
32:32feige und grausam
32:34und treten meist
32:34in großen Scharen auf.
32:37Sie stellen unter den Tieren
32:38das Element der heimtückischen
32:40unterirdischen Zerstörung dar.
32:43Nicht anders als die Juden
32:45unter den Menschen.
32:46One entry in Goebbels'
32:47Diary,
32:48of the 5th July 1941,
32:50hints at the type
32:51of row he must have had
32:52with Hitler
32:52over the eternal Jew.
32:54A few disagreements
32:55of the newsreel.
32:56The Fuhrer wants
32:58more polemical material
32:59in the script.
33:00I would rather have
33:01the picture speak
33:02for themselves
33:02and confine the script
33:04to explain
33:04what the audience
33:05would not otherwise
33:06understand.
33:07I consider this
33:08to be more effective
33:09because the viewer
33:10does not see
33:11the art in it.
33:13That same year,
33:141940,
33:16Goebbels resolved
33:16to commission
33:17an anti-Jewish film
33:18following his own theories.
33:20He wanted the participation
33:21of the leading actress
33:22of the Nazi period,
33:23the Marilyn Monroe
33:24of her day,
33:25Christina Zoderbaum.
33:32Here at home,
33:34watching herself
33:34in one of her wartime films,
33:36Opfergay.
33:47Zoderbaum was lucky.
33:48Because she was blonde,
33:50Goebbels did not want
33:51to go to bed with her.
33:53Then he said,
33:54I'm sexy.
33:55Then he said,
33:56no, she's not.
33:57She's erotic.
33:59So, well,
34:00I'm not sexy.
34:01I'm erotic.
34:05There were so many
34:06of me loved
34:07but if you're not
34:09sexy or not,
34:10I don't know.
34:12I was,
34:12I was,
34:13I lived in a golden
34:16cage.
34:17I saw it from the war
34:19as it was.
34:21Goebbels ordered her
34:22to take part
34:23in his anti-Jewish film.
34:25They wanted me to have
34:26this blonde,
34:28not so intelligent,
34:30nice,
34:31arish woman.
34:33The film she acted in
34:35was called
34:35Yud Sus,
34:36an historical drama
34:37about a Jew
34:38who insinuates himself
34:39into the polite
34:40German society
34:41of 18th century
34:43Wurtemberg.
34:44By trickery,
34:46the Jew manages
34:46to imprison the husband
34:47of the perfect
34:48Aryan woman
34:49he wants to seduce.
34:52She wants her father
34:53and his husband
34:53to be free,
34:54right?
34:55She's going to
34:55send it to her.
34:57If a hunter
34:58should leave a
34:59wolf out of the
34:59cage,
35:00then he has to
35:00have another
35:01for it.
35:01That's
35:02she's going to
35:05that's
35:06that's
35:06you're
35:06out of the
35:06Let's go!
35:10Actuarius,
35:12it's really fun.
35:15What is that?
35:16You know the
35:16voice?
35:18Go to
35:19Minna.
35:20Take it away.
35:21Take it away.
35:22Take it away.
35:24What is that?
35:26Did you hear anything?
35:26Do you know something?
35:27That's what it means.
35:32Don't take it away, my child.
35:36Now give me my bag again.
35:38No!
35:39No?
35:40No?
35:40No.
35:41But...
35:41But...
35:42What?
35:44I'll bet you.
35:46I'll bet you to your God.
35:49I'll bet you.
35:51But not just Christians, your God.
35:53We Jews have another one.
35:55And that's the God of Rache.
35:57Auge um Auge.
35:59Zahl um Zahl.
36:00Thank you for your father.
36:01I'll let you go out.
36:03Do you want me to do that,
36:04so that the officers won't be shot?
36:06Don't do it!
36:08Don't do it!
36:09You can do it again!
36:10You can do it again!
36:13If you look at it today,
36:15even more than before,
36:18that's clear.
36:20Today we see...
36:21What do we know about the war?
36:25Not so many of them,
36:27but we know it now,
36:28from the films that we've seen,
36:30from the KZ pictures,
36:33and everything else,
36:34and then...
36:35Then it's a moment
36:36even worse.
36:38That's why,
36:39for God's sake,
36:40I helped with you.
36:43That's not...
36:45If you played it,
36:47or even forced to play it,
36:49you didn't think so.
36:51You didn't know what it was about.
36:53Heinrich Himmler,
36:54commander of the SS,
36:56issued an order
36:56which told all of those
36:57under his command,
36:59including the guards
37:00at the death camps,
37:01to go and see the film.
37:08I'm not the only one
37:10as a three of them
37:12of my sovereigns!
37:24I'm not the only one
37:30as a three of them
37:31but I'm not leaving.
37:32I'm leaving!
37:34I'm leaving!
37:35I'm leaving!
37:36I'm leaving!
37:45Leave!
37:45Goebbels had made
37:46a massive contribution
37:47to the Nazi plan
37:48to exterminate the Jews.
37:51In Judzus,
37:52he'd succeeded
37:52in making a film
37:53which the audience enjoyed,
37:55and yet which justified
37:56the removal
37:56of the Jews
37:57from their homes.
38:04By 1943, Goebbels knew that even his propaganda couldn't convince the Germans that they were
38:08actually winning the war.
38:13In newsreels, he did his best to show how the country was pulling together.
38:18But everyone knew what was happening in the East, and after the German defeat at Stalingrad,
38:23morale was low.
38:33At such a difficult time, Goebbels knew exactly what the public needed.
38:40A glamorous, agfa-colour version of The Adventures of Baron Munchausen, complete with harem scenes,
38:46escapism, and exotic fruit.
39:04And there burned the cities and the people standing in Schlangen, while it was closed for
39:11the cinema, to the cinema, not only the healing, but the elegant world.
39:19Yeah.
39:39The Adventures of Baron Munchausen
39:50Father!
39:57Father!
40:16As well as entertainment, Goebbels provided defiance, as here in his famous speech in
40:22the Palace of Sport on February 18, 1943.
41:06But as this secretly shot film shows, the reality was that Berlin was crumbling.
41:16Late in 1944, when Goebbels realized that defeat was inevitable, he concentrated his
41:21energy on one film, which he intended to be his greatest legacy.
41:25Goebbels even said to me, it would be important that the statists in the film, in his film,
41:34can play roles, which to play on the front, as a simple soldier, did nothing more
41:41in the film.
41:42Yeah?
41:42Denn wir waren ja in vollem Zusammenbruch.
41:48Christina Soderbaum played the part of the heroic village maiden.
41:56My dear God, you can't be böse.
41:59For us is always so good, but now help us, please help us.
42:27Goebbels demanded that Norbert Schulze compose the inspirational music.
42:41Er hat sich an der Leistung der Künstler in so einem Film, hat er sich natürlich begeistert,
42:46weil das hat er gesagt, das wird uns überleben.
42:49Der Film Kohlberg, hat er sich gesagt, das wird uns vielleicht überleben.
42:54Schrecklich, schrecklich.
43:07Goebbels was overwhelmed by the film when he finally showed it to his colleagues in
43:11the propaganda ministry on April the 17th.
43:14Don't you want to play a part in this film?
43:17To be brought back to life in a hundred years' time?
43:22I can assure you that it will be a fine and elevating picture.
43:28And for the sake of this prospect, it is worth standing fast.
43:34Hold out now, so that a hundred years' hence the audience does not hoot and whistle when you appear on
43:42the screen.
43:47Inspired by Kohlberg, Goebbels seems to have imagined that he was playing out a part
43:51that would one day be played by an actor on the screen.
43:55He was the staunchest of the Nazi hierarchy in the dying days of the war.
44:01By now, Hitler was a virtual recluse, and Goebbels moved into the bunker to be near him.
44:07Hitler offered to make sure that Goebbels' children could escape to safety in a neutral country,
44:12but Goebbels and his wife refused the Fuhrer's help.
44:20On May the 1st, 1945, with the Russian troops less than a mile from Hitler's bunker,
44:26Goebbels and his wife decided the fate of their six children.
44:28I thought it was very terrifying.
44:32We all, we all.
44:33That small Häuflein, that was still in the kitchen, as we got this message.
44:43That was terrifying.
44:45Because I think that he had the chance to have his family, his children,
44:54to be able to fly out of the city, because the others were still flying out of the city.
45:01But, well, here.
45:06After killing their children, Goebbels and his wife committed suicide.
45:10She took poison, and he shot himself.
45:13He believed in himself, and he believed that he would continue his life in history,
45:20what people said about him, reported about him.
45:23He thought it would be much better, and his end would be to disappear,
45:28to kill himself, not to remain a prisoner of the victors.
45:35That's the film ending.
45:44Fire!
45:47Fire!
45:53Fire!
46:02Fire!
46:05Fire!
46:05Fire!
46:06Fire!
46:09Fire!
46:12Fire!
46:15Fire!
46:20Fire!
46:22Fire!
46:22Fire!
Comments