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Most articles on this movie tend to overlook the intrinsic qualities of the movie as film, though of course these are connected with the propaganda aspect. The opening scenes (the board meeting and subsequent meeting) are powerful and the key to the propaganda: in a very short time it is effectively made clear what the mission of view of this movie is and what follows is an entertaining and propaganda-effective film. From the moment we are on the ship until the collision the movie is drama routine, but one of the better sort. Really exiting is the movie from collision till sinking, i.e. when the true drama emerges and the splendid unique results do their jobs; not one aspect of the outlined drama is forgotten, it is fast-paced and very well directed.Of the cast it is Sybille Schmitz who excels, while another members also do a very nice job; they gotta have done so otherwise the entire propaganda aspect would not have come across. There is one exception here: it seems that Hans Neilsen (playing the German officer) is very good, but he is not. It is often told that he speaks his lines as a Wehrmacht officer on duty, but for me his machine gun like delivered lines sound more like the staccato of the regular commentator of the Deutsche Wochenschau (compare this, when you have the possibility).Though this movie is obviously anti-British, it is rather anti English capitalist establishment and their decadence than anti-British per se *; an anti-capitalism not so much based on (to generalize) theoretical arguments, but (as most of fascist ideas) on the petty bourgeois middle class mentality and jealousy towards others who are better off. The crux for this is in the powerful opening: it is here when Ismay remarks that he cannot take into acc the interests of the tiny investors, they gotta bend to his need and of course greed. As such the focus of the propaganda is established; on the ship we meet very wealthy folks testing with cash (e.g. the gamblers) and folks preferring cash above folks (Lord Astor, well played by Schönbock), these being decorum for the propaganda and an elaboration of the already established focus. Cash (large sums bidden for almost everything) plays the major part in this movie (it could have received first credit). King Astor even worries about stolen jewelry while the ship is sinking: cash makes decadent. Compare for instance the cynic method of life upper deck and the more natural and spontaneous life lower deck.[* Noteworthy is that after its re-release in 1950 it was quickly banned again in the Western zones, while in the Soviet territory it was screened without a problem; the anti-capitalism might have done the trick.]The pro-German aspect and the respond to everything is German officer Petersen. He not almost single handedly saves a part of the passengers, he also shows the right spirit when it comes to human feelings. Only when the Baltic countess tells she has no cash anymore, he gives room for his feelings towards her; what a fine chap, he is! And it is from that mission on that she does her duty as a human being and begins supporting out with the rescue: cash makes cynic.There is also a tip of Durchhaltefilm here. Take for instance that schematic and ideological German rural couple; not a couple of flesh and blood, they seem to have walked straight out of a Nazi rural painting. Boys and girls are separated for the rescue, but this couple stays together: in an almost religious shot they keep hands expressing that nothing can separate them. They are separated by force of the panic, but reconciled again in the end. No catastrophe can undermine the easy German life.This Titanic has its influence on movie history as well. It has been ripped off at least twice, first in 1958 for A Night to Remember (a storyline widely known) and recently by James Cameron who for his Titanic but boring endeavour stole quite some storyline concepts and finished scenes; check this when you have the opportunity.It is often written that this movie was not released in Germany cause of the death (suicide, murder?) of its first director Selpin. Wetzel & Hagemann in their survey of censorship in Nazi Germany (book, 1978) claim that this is not so. It had its unnoticed premiere in 1943 in unimportant cinemas, only to be banned in December 1944 for the well-known reason: the audience was not to be confronted with catastrophes.Beware which ver you see; as I understand it there are 2 versions. The longer one (the one I saw) contains a final stage in court; Petersen is the German J'accuse of Bruce Ismay, but there appears to be no British justice.
It's not that common in film history that a director angers the producer/distributor of his film so much that the latter has the former murdered. That's what happened to co-director Herbert Selpin in 1942 before the release of Germany's movie contribution to the Titanic saga. Dr. Josef Goebbels, Hitler's propaganda minister and self-anointed arbiter of culture in the Third Reich, had the Gestapo arrest Selpin who was reported dead in his cell the day after. Suicide? Ridiculous.The Titanic storyline has been said many times on film, both as documentary and as drama. Interest currently appears to intensify with the same speed as the over-visited wreck rapidly succumbs to a final ballet of disintegration.Years ago The Movie Society of Lincoln Center ran a retrospective of films produced during the Third Reich. For most attendees it was a revelation, and a disturbing one at that. Many are familiar with the late Leni Reifenstahl's documentary paean to the Olympics (propaganda aside, one of the best movies of that genre) and the odious "Jude Suss" is the iconographic film symbolism of Nazi antisemitism. Several were aware how much genuine creativity, gratis of obvious dogmatism, emerged from that twelve-year period of German darkness and depravity. The retrospective made many think about the complexity of life in 1933-1945 Germany.One of the movies I saw was the 1943 "Titanic" which had a tiny premiere followed by an order from Goebbels pulling the movie. Ostensibly, Germans were not to be exposed to seeing the panic on the nice liner as it foundered (actually most Germans, especially those in urban areas, had more visible frequent reasons to panic by 1943.Selpin (with co-director Werner Klingler) turned out a sumptuous, ornate and dramatically compelling movie. Largely using the known facts, "Titanic" says the well worn tale of a ship driven to unreasonable and risky speeds in order to set a record. There are some significant deviations. Here, the English first officer - seized with some malady - is replaced by a German seaman called Petersen, a model of experience and rectitude. J. Bruce Ismay, whose social life was justifiably crashed because of his escaping the sinking behemoth, is unrealistically portrayed as a grasping cad whose crudity was not found in the self-absorbed, rich and supinely confident true shipping magnate. The vessel's master, Captain Smith, is overly subservient to Ismay but he responds well to the disaster.This film wasn't made on the cheap. Given the deteriorating wartime situation, a lot of marks were expended for terrific sets and fine attire. There's no true Nazi propaganda. The film ends with a comment that English greed occasioned the loss of so many lives but very many ebooks and articles from Old Blighty and the U.S. echo that view.Because of its anti-British utterances, the Allies banned the film in their sectors in Germany at first while it was freely accessible in the Soviet zone. Hardly a surprise-that film maven, Stalin, probably loved this capitalist-bashing film.KINO VIDEO has performed a true service by releasing the movie on DVD. There are two versions-this release is the shorter one without the trial stage in which survivor Petersen rails vs the British in court. Now the film is stronger for that omission. After she goes down, what else is there really to say?There are some interesting unique details on the disc including an early commercial short made by the White Star Line showing the amenities of RMS Olympic, other luxury liner built before Titanic (technically, Olympic wasn't a sister ship of its more popular and briefly triumphant successor but the differences aren't important).This is an necessary release for Titanic buffs but also for those interested in film-making in Nazi Germany. There were films made that deserve actual viewing for reasons apart from their historic association with a barbaric regime.7/10
Too many just dismiss this movie outright as Nazi propaganda, and don't examine the movie as a film. Certainly when compared to the 1953 Hollywood TITANIC it's a far better made and less sappy piece of drama. And if it has a lot to be desired as history -- well then so did the Hollywood film. The performances, direction, and unique results are all perfect for the time. In fact, it's very surprising that the German movie industry was able to mount such a first class production as this in the midst of the war.Which brings me around to the propaganda aspect of the film: to my mind it's been very much over stated in accounts on the movie that I've read. Apparently, the most vicious part of the film's propaganda content, a trial stage and end game which condemned Britain as a country driven by greed, have been omitted from all actual prints. Still, were it the "Hate the British" movie it's often dismissed as, it's truly nice to see the propaganda aspects in the movie that are missed. The Third Class are never shown being locked below decks as the ship sinks (indeed, when the ship's engines stop, they march up to First Class to demand an explanation from the Captain), and the team and officers to a boy are shown being skilled, efficient, and brave. How should the Nazi's miss so many simple targets, and ones that have been included in almost each Titanic movie to this day? And while it is real that Bruce Ismay is turned into a first class villain, driving his ship without regard for security straight into the iceberg -- it's also been that method in each another Titanic movie in which he's been portrayed (for example, the newest TV mini-series TITANIC -- which shows Ismay down in the boiler room screaming at the stokers to create the ship go faster -- like that really happened!). It's all just a question of degree. And if the movie portrays the rich millionaires like John Jacob Astor as folks who will test money, class, and power to achieve anything -- well, it's no worse than some of the stories -- printed amid all the bravery and self-sacrifice slop -- that appeared in 1912 newspapers. Remember, after the disaster Ismay and the White Star Line were acquitted, folks were led to trust all the First Class boys died bravely, Captain Smith was blamed for everything, and the terrible souls who lost everything when the ship went down never got a penny in restitution. Thus, in the end, considering all the un-truths and legends that have sprung up around the Titanic story, I trust this movie plays a lot less like a Nazi movie and more like an anti-capitalist one. Tiny wonder it played in East Germany after the fight with no problem. There's certainly enough "Hate the Rich" sentiment here to have warmed Stalin's heart.So, to me anyway, it's almost refreshing to see a Titanic movie that treats the entire affair as the monument to stupidity that it was. Since it has nothing to do with history, one gotta examine it as the first example of movie makers trying to come to grips with the "Titanic Legend". (One should also award that zone to the 1929 British movie ATLANTIC -- but for some unknown reason that movie tried to pretend it was fiction.) Looked at from that prospective, it's a fascinating piece of movie making (and history) that deserves to be seen without the vicious "Nazi film" mark hanging over it. Certainly James Cameron gotta have seen a lot to admire in it; why else would he have copied shots and plot concepts un-masse. (He also coped shots and dialogue from each another Titanic movie ever made.) Thankfully, he didn't copy the film's best (abet fictional) moment: wireless operator Phillips releasing his pet canary into the night as "Nearer My God to Thee" plays in the background. Did director Herbert Selpin crib this bit from von Stroheim's GREED? We'll never know, as it's told he was murdered by the Nazi's before the movie was completed. So much for the benefits of creating a "Nazi film".
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