New Evidence of Jewish Movie Moguls’ Collaboration with 1. Nazis – Tablet Magazine. Hitler and Goebbels at the UFA studios in Berlin in 1.

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Deutsches Bundesarchiv)Adolf Hitler loved American movies. Every night at about 9: 0. Führer had tired out his listeners with his hours- long monologues, he would lead his dinner guests to his private screening room. The lights would go down, and Hitler would fall silent, probably for the first time that day. He laughed heartily at his favorites Laurel and Hardy and Mickey Mouse, and he adored Greta Garbo: Camille brought tears to the Führer’s eyes.

Tarzan, on the other hand, he thought was silly. As it turns out, Hitler’s love for American movies was reciprocated by Hollywood. A forthcoming book by the young historian Ben Urwand, to be published by Harvard University Press in October, presents explosive new evidence about the shocking extent of the partnership between the Nazis and major Hollywood producers.

Urwand, a former indie rock musician and currently a member of Harvard’s prestigious Society of Fellows, takes the subject personally: His parents were Jewish refugees from Egypt and Hungary. Digging through archives in Berlin and Washington, D. C., he has unearthed proof that Hollywood worked together with the Nazis much more closely than we ever imagined. Urwand has titled his riveting book. The Collaboration: Hollywood’s Pact With Hitler, and as you turn its pages you realize with dismay that collaboration is the only fitting word for the relationship between Hitler and Hollywood in the 1. Using new archival discoveries, Urwand alleges that some of the Hollywood studio heads, nearly all of whom were Jewish, cast their lot with Hitler almost from the moment he took power, and that they did so eagerly—not reluctantly. The Matador Full Movie In English. What they wanted was access to German audiences.

What Hitler wanted was the ability to shape the content of Hollywood movies—and he got it. During the ’3. 0s, Georg Gyssling, Hitler’s consul in Los Angeles, was invited to preview films before they were released. If Gyssling objected to any part of a movie—and he frequently did—the offending scenes were cut. As a result, the Nazis had total veto power over the content of Hollywood movies. What is shocking and new about Urwand’s account is its blow- by- blow description of Hollywood executives tailoring their product to meet the demands of the Nazi regime.

While Hollywood’s relations with the Nazis is not a new subject, the inclination of previous historians like Thomas Doherty, author of Hollywood and Hitler, 1. Urwand has uncovered, has been to let the studio executives off the hook. Like most historians before Urwand, Doherty seconds Jack Warner’s self- portrait as an ardent foe of the Nazis, who stopped doing business in Germany because he was appalled by the Nazis’ treatment of Jews. But as Urwand alleges here, it wasn’t Warner who rejected the Nazis; they rejected him: Hitler dumped Warner Bros.

Gyssling to a movie called Captured!, set in a German- run camp for foreign POWs during World War I. By July 1. 93. 4, Warner Bros. Berlin, and the rest of the studios were running scared. Urwand details Hollywood distribution companies faced with having to fire half of their Jewish staff members in Germany and negotiating with the Nazis so that they could hang on to other half. In 1. 93. 6, all Jews associated with the American film industry in Germany were forced to leave the country. Yet even after this, the studios eagerly kept up their profitable dealings with Hitler’s regime.

Many dozens of Hollywood movies were imported into Nazi Germany each year, and they often did stunningly well at the box office. The American movies that the Nazis loved best were those that proclaimed the need for a strong leader. Nazi newspapers were ecstatic to see the “leader principle” illustrated in films like The Lives of a Bengal Lancer, Mutiny on the Bounty, Our Daily Bread, and Mr. Smith Goes to Washington. They found in these blockbuster entertainments sound fascist political lessons leavened by humor—a light American touch that, Nazi reviewers lamented, German movies could never approach. In 1. 93. 9 1. 0 Nazi newspaper editors—including the editor of the Völkischer Beobachter, the official Nazi party newspaper—were treated to a “good will tour” of the MGM studio.) No one was more wholesomely American than the warm- hearted, stammering Jimmy Stewart; but movies like Mr. Smith were welcomed in Germany because they showed that the democratic form of government was inefficient and corrupt.

A film that showed the advantages of democracy over fascism could never be made in Hollywood in the 1. Hitler’s Germany, whose market was simply too lucrative for the studios to ignore. In 1. 93. 6 MGM planned to adapt for the screen Sinclair Lewis’ novel about a fascist takeover of America, It Can’t Happen Here.

When Louis B. Mayer called off the project shortly after it started production, the Nazis announced their pleasure with Mayer’s decision. Mayer was first tipped off to the danger of making It Can’t Happen Here by Will Hays. The Hays Office, Hollywood’s censorship bureau, enforced its Movie Production Code “to the end that vulgarity and suggestiveness may be eliminated and that good taste may be emphasized” (as the code put it). Hays admitted that It Can’t Happen Here didn’t offend according any standards of decency, but he warned that certain foreign governments—i. Germany—would be upset by the film.

Even before the Nazis took power, Hollywood was buckling under to German demands. In 1. 93. 2 a new German regulation, inspired in part by Nazi agitation, appeared: Film producers could have their permits to show their films in Germany revoked if they screened, anywhere in the world, movies whose effect was damaging to Germany’s prestige. The intent was to curtail a flourishing genre: movies about World War I that portrayed German officers as scoundrels or sadists (and that often starred Erich von Stroheim, the Silesian Jewish genius who supplied his villainous acting roles with Teutonic growls, barks, and carpet- chewing mannerisms). When Hitler came to power a year later, he used the new law as a way to censor Hollywood movies: to control how they could depict Germans and Jews not only within Germany, but around the world.

Ironically, the man who set the pattern for German interference in American movie making was Carl Laemmle, Sr., head of Universal, who later heroically aided Jewish refugees from his native Germany (see Allison Hoffman’s recent Tablet Magazine story). In 1. 93. 0, Nazis had disrupted the German premiere of Universal’s antiwar film All Quiet on the Western Front: Led by Goebbels, they set off stink bombs and let white mice loose in the theaters. After the Nazi riots, Laemmle, a Jew, put an ad in the German newspapers: “I yield to no one in my love for the Fatherland. The fact that I came to America as a boy and built my future in America has never for a moment caused any cessation of my love for the land of my birth.” Laemmle agreed to make major cuts to All Quiet on the Western Front, not only for screenings in Germany, but worldwide.

The picture was gutted—its savage attack on German militarism wound up on the cutting room floor. The same thing would happen later in the decade to MGM’s Three Comrades, again in response to German demands. Other studio heads were less sympathetic than Laemmle to the plight of their fellow Jews, but they shared his wish to keep the German market safe for American movies. Watch Cross My Heart Instanmovie.