Theresienstadt (1944 film)
Theresienstadt | |
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Directed by |
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Written by | Kurt Gerron using a draft by Jindřich Weil |
Produced by | Karel Pečený (Aktualita Prag) |
Starring | Theresienstadt prisoners |
Cinematography |
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Edited by | Ivan Frič |
Music by | Various pieces by Jewish composers selected by Peter Deutsch |
Distributed by | Schutzstaffel |
Release date |
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Running time | c. 90 minutes (surviving footage: 20 minutes) |
Country | Reichsmarks |
Theresienstadt. Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet ("Theresienstadt: A Documentary Film from the Jewish Settlement Area"), unofficially Der Führer schenkt den Juden eine Stadt ("The Führer Gives a City to the Jews"), was a black-and-white projected
Unlike other
Background
In 1942, a
In an attempt to preserve its credibility and preeminence as a humanitarian organization while reports on the mass extermination of Jews continued to reach the Western Allies, the
Filming
Preparations for a second Theresienstadt film, again sponsored by Günther rather than Goebbels, began concurrently with the "beautification" of the ghetto prior to the Red Cross visit.
Filming took place over eleven days between 16 August and 11 September 1944.[13] The assistant directors were František Zelenka, Jo Spier, and Hans Hofer .[17][18][19] Karel Pečený and his company Aktualita provided the cameramen, and halfway through filming, Pečený effectively took over as director.[20] The two cameramen were Ivan Frič and Čeněk Zahradníček, assisted by Benda Rosenwein. The film's soundtrack has been credited to Jaroslav Sechura and Josef Francek.[19] Aktualita collaborated with the German newsreel company Favoritfilm in producing the film.[15] Prisoners of stereotypically Jewish appearance who were not obviously malnourished were chosen to appear in the film. They were given time off work for rehearsals and filming, and those unwilling to appear were threatened with harsh punishment.[18]
On 28 October, Gerron was deported to Auschwitz, where he was murdered, never seeing even a preliminary version of the film. The film was cut by Ivan Frič, who did not use Gerron's proposals for cutting or any of the scripts, but instead using the same improvised technique that he used for Aktualita's weekly newsreels. Frič had to cut the ending three times before Günther accepted it. The final cut bore little resemblance to Gerron's July script, his later editing proposal, or his creative vision for the film. In March, Aktualita sent a crew to the camp in order to collect some samples of "Jewish music", including snippets of the work of Felix Mendelssohn, Jacques Offenbach, and the children's opera Brundibár by Theresienstadt prisoner Hans Krása. The music was performed under the direction of Danish Jewish composer Peter Deutsch, who had experience with film soundtracks before the war. The SS completed the film on 28 March 1945, in time to present to the ICRC delegation that arrived on 6 April 1945.[21][22]
Content
Testimonies agree that the film ran about 90 minutes, the standard length.[21] Survivors remember what was filmed, but not which scenes were used in the final version. Although the full film was lost, a surviving document from the editing stage lists all the sequences as they appeared in the final version,[23] and from surviving fragments and the drawings of Jo Spier, historians have "a very good idea of the visual image of virtually every scene in the film's 38 sequences", according to Margry. Nothing survives of a scene showing the self-government's court and a different scene in a dining hall.[24][25]
The film opens with the children's choir, directed by Karel Fischer, singing Mendelssohn's oratorio, Elijah. The Ghetto Swingers, a jazz band, plays outside, and "prominent" prisoners enjoy food and beverages on a terrace and in a sham coffee house. Various sports events are also performed. The first eight sequences of the film show only leisure activities, setting the tone for the rest of the film and casting Theresienstadt as a holiday resort.[24][26] Later sections of the film focus on work, including the Jewish self-government, construction projects, craft workshops, and agriculture. H. G. Adler notes that the type of work depicted in the film was not typical of that performed by most prisoners. Fake institutions, such as a bank and various shops, are also shown. Theresienstadt medical care, including a hospital and recuperation home, makes an appearance.[18][27][28] Family life and unstructured leisure time is depicted towards the end of the film.[18][29] The final scene is of a performance of the children's opera Brundibár.[27][30]
Karl Rahm insisted that the "prominent" prisoners of Theresienstadt be filmed, and pressed Gerron to include more of them in his shots.[20] Among the "prominents" who appeared were Jo Spier, Max Friediger, Paul Eppstein, and Leo Baeck.[24] The SS also insisted that the film's soundtrack consist exclusively of Jewish composers.[29][c] According to España, the film itself is of good technical quality,[25] and the focus on leisure activities creates an "atmosphere of a perpetual party".[d] Margry states that the narration was "the main truth-distorting element", but nevertheless included some factual information.[23] According to Margry, historians have exaggerated the falseness of the film. Although Theresienstadt as a whole is "a vicious work of propaganda", "the visual authenticity" of the film is greater than many commentators have written, and the film accurately depicts some elements of daily life in the ghetto.[23] Margry argues that "the film's blatant dishonesty turns on what it did not show: the hunger, the misery, the overcrowding, the slave work for the German war economy, the high death rate, and, most of all, the transports leaving for the East".[23]
Aftermath
The film was not intended to be shown in Germany; the Nazi propagandists hoped to distribute it in neutral countries to counter Allied news reports about the persecution of Jews. However, by the time the film was completed on 28 March 1945, Germany's imminent defeat made this impossible.[32] An alternative interpretation was that by the time it was completed, the film was intended for a much more select audience and narrowly focused on the cinematic portrayal of "prominent" prisoners who had in fact been murdered at Auschwitz in order to persuade the ICRC that they were still alive. Because of this more select audience, Czech film historian Natascha Drubek argues that the film was not propaganda in a true sense.[17]
The film is known to have been screened at least three times. According to Margry, in late March or early April at
On 16 April the film was shown twice at Theresienstadt, first to
Historiography
In the postwar era, the film was considered lost, but continued to be the focus of discussion.
In 1965, the Czechoslovak authorities made their own documentary based on the footage,
According to Kurt Gerron's papers, the original title was Die jüdische Selbstverwaltung in Theresienstadt (The Jewish Self-Government in Theresienstadt); later, he used the short title Theresienstadt. Excerpts of the film discovered in the Israeli archive in 1988 revealed the official title to be Theresienstadt, with the subtitle Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet (A Documentary Film from the Jewish Settlement Area). According to Margry, the Nazis called it a "documentary film" in order to cast the film as an authentic representation of Theresienstadt life rather than staged propaganda, while the last three words imply that there were more "Jewish settlements" like Theresienstadt. It is believed that Jewish prisoners gave the film an ironic title, Der Führer schenkt den Juden eine Stadt, ("The Führer Gives a City to the Jews"), during the final months of the war, which was used as the title until 1988.[17][39][e] The misconception about the correct title has been used in a number of analyses of Nazi propaganda by film critics.[39]
Film historians have often claimed that the film was ordered by Goebbels, but that is not the case.[40] Many scholars have claimed that the film was ordered after the June Red Cross visit, but it was prepared from late 1943.[41] The earlier origin of the film discredits many theories that have been offered for why the Nazis ordered the film.[41][f] It has also been claimed that Heinrich Himmler was closely involved in the production of the film and showed it to the Western Allied agents with whom he was conducting secret negotiations in late 1944. However, the only evidence suggesting that he knew of the film's existence is a letter between his secretary, Rudolf Brandt, and personal masseur, Felix Kersten, in March or April 1945.[41]
Legacy
The German film website
References
Notes
- ^ However, the Red Cross had access to independent information that Jews were being deported from Theresienstadt to Auschwitz, and murdered there.[9]
- ^ The papers, which are neither signed nor dated, were found after the war in the archive of Jindřich Weil (1916–1945), a German-speaking Jew from Prague. Before the war, he had worked as a cameraman and scriptwriter at a film studio, and he had collaborated with Dodalová on the 1942 film. Both drafts contain words and phrases characteristic of Theresienstadt prisoners and of the German-speaking Jewish community in Prague. The last draft included much more narration than is typical in films and was written in bland Nazi official language uncharacteristic of Weil's prior work. Karel Margry hypothesizes that Rahm had a strong influence on this draft. Based on references to events in the scripts, Margry was able to date each draft to a close time interval: the first was written between the end of December and before 14 January, while the second dates to between 26 February and the end of March. Weil's involvement with the film ended with the completion of the second draft.[13]
- violin concerto)
- Sholom Secunda (Bei Mir Bistu Shein)
- Hans Krása (Brundibár)
- Jacques Offenbach (The Tales of Hoffmann, La Vie parisienne)
- Pavel Haas ("Studie für Streichorchester")
- Max Bruch
- Dol Dauber
Citations
- ^ United States Holocaust Memorial Museum 2018, Establishment.
- ^ United States Holocaust Memorial Museum 2018, Overview, "Retirement Settlement".
- ^ a b c España 2001, p. 152.
- ^ Margry 1992, p. 147.
- ^ Margry 1999, pp. 315–316.
- ^ Margry 1999, pp. 309.
- ^ Farré & Schubert 2009, pp. 69–70.
- ^ Stránský 2011.
- ^ Fleming 2014, pp. 199, 214–216.
- ^ Schur 1997.
- ^ a b c d España 2001, p. 153.
- ^ Margry 1992, p. 148.
- ^ a b c d e Margry 2016.
- ^ a b c Margry 1992, p. 152.
- ^ a b c d e Strusková 2016.
- ^ España 2001, pp. 153–154.
- ^ a b c d e f Drubek 2016.
- ^ a b c d Adler 2017, p. 148.
- ^ a b c filmportal.de 2018.
- ^ a b Margry 1992, p. 153.
- ^ a b España 2001, p. 154.
- ^ Margry 1992, pp. 153–154.
- ^ a b c d Margry 1992, p. 155.
- ^ a b c Margry 1992, p. 156.
- ^ a b España 2001, p. 156.
- ^ España 2001, pp. 154–155.
- ^ a b Margry 1992, p. 157.
- ^ España 2001, p. 155.
- ^ a b Margry 1992, p. 158.
- ISBN 978-1-4766-7056-0.
- ^ España 2001, p. 157.
- ^ a b Margry 1992, p. 154.
- ^ Margry 1992, pp. 154–155.
- ^ España 2001, p. 151.
- ^ Prager 2008, p. 178.
- ^ Drubek 2021.
- ^ Margry 1992, pp. 155–156.
- ^ Margry 1992, pp. 153, 156.
- ^ a b c Margry 1992, pp. 150–151.
- ^ Margry 1992, p. 146.
- ^ a b c Margry 1992, p. 149.
- ^ Gleiberman 2003.
- ^ Iken 2015.
Print sources
- ISBN 9780521881463.
- ISSN 2365-7758.
- ISBN 978-3-658-31637-2.
- de España, Rafael (2001). "El film sobre Theresienstadt. Un ejemplo atípico de propaganda nazi" [The film about Theresienstadt. An atypical example of Nazi propaganda]. Historia, Antropología y Fuentes Orales (in Spanish) (25): 151–157. JSTOR 27753068.
- Farré, Sébastien; Schubert, Yan (2009). "L'illusion de l'objectif" [The Illusion of the Objective]. Le Mouvement Social (in French). 227 (2): 65–83. S2CID 144792195.
- Fleming, Michael (2014). Auschwitz, the Allies and Censorship of the Holocaust. Cambridge: ISBN 9781139917278.
- Margry, Karel (January 1992). "'Theresienstadt' (1944–1945): The Nazi propaganda film depicting the concentration camp as paradise". ISSN 0143-9685.
- Margry, Karel (August 1999). "The First Theresienstadt Film (1942)". Historical Journal of Film, Radio and Television. 19 (3): 309–337. .
- Margry, Karel (2016). "A False Start. The Filming at Theresienstadt of January 20, 1944". Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe. Media and Digital Cultures of Central and Eastern Europe (2–3). ISSN 2365-7758.
- Prager, Brad (17 June 2008). "Interpreting the visible traces of Theresienstadt". Journal of Modern Jewish Studies. 7 (2): 175–194. S2CID 144375426.
- Strusková, Eva (2 May 2016). ""The Second Life" of the Theresienstadt Films after the Second World War". Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe. Media and Digital Cultures of Central and Eastern Europe (2–3). ISSN 2365-7758.
Web sources
- "Theresienstadt. Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet". filmportal.de. Retrieved 16 October 2018.
- Gleiberman, Owen (3 December 2003). "Prisoner of Paradise". Entertainment Weekly. Retrieved 16 October 2018.
- Iken, Katja (14 January 2015). "SS-Propagandafilm "Theresienstadt": 90 Minuten Lüge" [SS propaganda film Theresienstadt: a 90-minute lie]. Spiegel Online(in German). Retrieved 17 October 2018.
- Schur, Herbert (January 1997). "Review of Karny, Miroslav, ed., Terezinska pametni kniha". H-Net Reviews (Review). Retrieved 16 September 2018.
- Stránský, Matěj (19 July 2011). "Embellishment and the visit of the International Committee of the Red Cross to Terezín". Terezín Initiative. Retrieved 15 September 2018.
- "Theresienstadt". United States Holocaust Memorial Museum. Retrieved 15 September 2018.
Further reading
- Lara Pellner; Hans-Georg Soeffner; Marija Stanisavljevic, eds. (2021). Theresienstadt – Filmfragmente und Zeitzeugenberichte: Historiographie und soziologische Analysen (in German and English). Springer Fachmedien. ISBN 978-3-658-31637-2.
External links
- Theresienstadt at IMDb
- Some surviving excerpts at the United States Holocaust Memorial Museum web site.
- Availability for educational use Archived 2019-06-20 at the Wayback Machine