MINISTRY OF ILLUSION

MINISTRY OF ILLUSION

In 1933, Joseph Goebbels, Reich minister for national
enlightenment, controlled one of the most powerful vehicles of the
time for mass indoctrination ­ the cinema. Realizing that
propaganda became ineffective once the viewer became conscious of
manipulation, German films from the Third Reich reflected the
spirit of National Socialism, rather than restating its ideology.
UCLA Archive’s new series presents a rare look.

By Barbara E. Hernandez

Daily Bruin Staff

In 1933, the Nazis realized the most effective means of
indoctrinating the masses in Third Reich propaganda ­ the
movies.

This unique era of German filmmaking, "Ministry of Illusion:
Films from the Third Reich 1933-1945," presented by the UCLA Film
and Television Archive and the Goethe Institute/German Cultural
Center, will be highlighted at Melnitz Theater now until Feb.
9.

"Viewed in context to the time and place of their creation, the
films in this program provide a rare history lesson and a timely
warning," says Elisabeth Greenbaum of the UCLA Film and Television
Archive, of the unique viewing.

These films, seldom seen and even more infrequently
acknowledged, paint an unforgettable picture of entertaining
propaganda. Joseph Goebbels, Reich minister of enlightenment and
propaganda, realized that without entertainment value, big budgets
and escapism, government-sponsored films had no feasible means to
mold the people.

"The moment a person is conscious of propaganda," said Goebbels,
"(it) becomes ineffective." Without these peripheral elements the
German people would be too aware of the government ploys."

Thus some films subscribed to the callous Nazism, but most
strived to look more apolitical, somehow managing to incorporate
extreme nationalism by supporting the collective German (and Nazi)
cause.

Filled with lavish productions and fresh-faced German actors
portraying ideals of Aryan beauty, these films couldn’t fail to
captivate. Providing fantasy in exotic locations like Brazil and
California, as well as a celebration of Greek myths, the films
provided an escapism from life’s difficulties. Love stories
prevailed, and often lovers took a backseat to a greater good,
usually the Nazi one.

In Rolf Hansen’s The Great Love a sexually liberated chanteuse
has an affair with a young pilot, eventually relinquishing her hold
on him to the service and to Germany. Military officials greatly
disliked the idea, saying that a good German officer would never
have had an affair with such a woman, while a top general said a
young pilot would have never missed the opportunity.

In The Great Freedom No.7, hand-picked blond and blue-eyed Hans
Alber as the ideal of Aryan masculinity, portrays a sailor who
falls in love with a unique girl, much to her uncle’s dismay.

Goebbels disliked esoteric or experimental works and called for
more accessible and enthralling productions. Every script had to be
reviewed by the Third Reich and approved before shooting began. The
productions were constantly monitored and the final cut had to be
approved, often in Adolf Hitler’s presence.

The supervision proved lethal to some filmmakers with subtle
subversive material, like Herbert Selpin, who was executed shortly
before his banned film Titanic was even finished, and Amphitryon’s
director Reinhold Schunzel, who disappeared very quickly before his
own film’s release. Many filmmakers like Fritz Lang, F.W. Murnau
and Billy Wilder exiled themselves to Hollywood, Paris or
London.

These films provide a fascinating glimpse into a world and time
with frightening similarities to our own ­ where entertainment
proved to be the most valuable tool available to the
government.

FILM: "Ministry of Illusion: Films from the Third Reich,
1933-1945" presented in conjunction with the UCLA Film and
Television Archive and the Goethe Institute/German Cultural Center.
Now playing at Melnitz Theater until Feb. 9. For scheduling and
more information call (310) 206-FILM.