Where should he drove, the eternal tongue train? (The Third Reich in Self-Trial, Part 12 / II)

In 1945, Paula Wessely was involved in Homecoming from the Americans with a prohibition of performance. Help found at the Tenor Otto of Pasetti-Friedenburg, who emigrated to the United States in 1937 and returned to the US Army in 1944 as an intelligence officer. De Pasetti, as he called now, became head of the Theater and Music Department of the American News Control Service in Austria. In this function he provided for a repeal of the prohibition. In the Salzburg news (17.11.1945) He gave this explanation: "We also want to admit that a participation of prominent artists, I think especially about conductors and head of music schools, could prevent more mischief than a refuse of these posts." This was apparently for an actress like Paula Wessely as well. The reason for his opinion does not give de Pasetti. He also felt the goods. Homecoming is the best example for that that the opposite was the case.

Part 1: Angel of the People’s Germans

The truth and nothing but the truth

After the death of dr. Mutius protests the German ambassador at the Polish Foreign Minister. Josef Beck emphasizes that in his country the minority rights remain preserved as long as they do not collide with the interests of the Polish people and that the guilty people are punished. This acts cynical because the movie Beck’s words with the "reality" confronted: Karl Michalek is thrown into the prison as Sundbock. Meanwhile, the commitment pact is signed with coefficitism. In the context of the explanatory model distributed by the NS propaganda (the British warranty encourages the Poland to further surpasses), this can only have a bad consequences. Prompt many Germans are expropriated. Ludwig Launhardt has to "German house" Rooms that have been owned by his family for hundred and twenty years. The inn is now a Poland.

Three Judian boys push from the ambush on Dr. Thomas, who blinds at the stop. A pole stumbles on Launhardt’s woman and robs her a necklace with a swastika pendant. Then she is hunted by the village and dies under a hail of stones, "with those raw and people under the hohnian haughted of disgusting Jews after their throw", as the Film world (14.2.1941) in a rotary report wrote. At least the torched, who will at the end will bring the blanket, and The program of today We also know: "’The driver will throw us throw and home’ – that’s the only hope that lights out of suffering eyes." In her distress, the Germans living in Emilienthal are in a barn for a radio. It is the 1. September 1939. Together they talk to the speech before the Reichstag, in the Hitler the invasion of Poland also with the continued vacuum of the "Folk" justified, "which one has tilted partly mistreated in the animal, sadistiest way".

By incorporating historical events like Beck’s London Travel or Hitler "Since 5.45 o’clock will now be back!"-Speech underline Menzel and Ucicky the alleged authenticity and suggest the audience that their film "with inexorable realism the truth and nothing but the truth says", as it in the magazine service (29.8th.1941) Stretched. The regular expenditure of the CDD, which is regularly apparent from the propagandaminium, contained "For each German magazine the compulsory information and instruction material" (ZD 12.2.In 1943), the editors wy on what they had to write meaning. It just had to be reformulated so that it does not stand the same everywhere. Homecoming, Share about the Film illustrated (2.11.1941) their readers with, be "from strict German historical honesty and cleanliness". Such a thing goes only with equal media. The best protection is a free press, no movie ban.

"But only one thing I know", says Hitler in his Reichstag speech: "that there is no gross power of honor, which was watched on the duration of such circumstances!" The sentence is no longer completely horns because Polish soldiers penetrate into the barn. All Germans are brought to the breeding house on trucks because they have violated the assembly ban. About the open loads of the trucks are tensioned. In the breeding house of LUZK you lock the arrested in Tafige, in which it is so tight that the prisoners can only stand. "In the narrow", Write the Illustrated movie courier, "Schmachten two hundred German, two hundred men, women and children." Maybe the author has the number of Enemies accepted. Willy Birrel and Brigitte Horney drove two hundred people through the swamp to the border.

"All around will all be German"

Time for a short inventory: Buchers burns. Militar parades. Removal of assembly freedom. Having a minority lose your property, are terrorized, transported like cattle, killed. Your extension is required. What the film attries the Poles is exactly what the Nazis made with their political opponents and with the Jews. That’s as similar as in Jud sub, where the title figure is secured by its power with the help of a kind of gestapo and otherwise putting some behaviors on the day that you actually know about the Nazis. Some Harlan apologists therefore claim you konn Jud sub Understand as a subversion document. Despite the UCICKY fans already had the subversive in Homecoming discovered if the Volksdeutsche epic is not so forgotten goods. If you have seen the movies, you are not subversive, but perfect. The Jews and the Poles are pushed their own crimes to be allegedly equal with the same repayment. "Who fights with poison", said Hitler on 1. September 1939 in front of the Reichstag, "is bleed with poison gas. Who removes himself from the rules of a human war carrying, can not expect anything else from us than we do the same step."

The Poland torment the charmed Germans with searchlights. A mass panic threatens. Launhardt, who stands in the crowd with his two small fonds, suffers a nervous breakdown and complains about the voice of his beautified woman, which he has always in his head (Attila Horbiger, I was accepted, has been preparing for this scene Peter Lorres FinalMonolog M educated). Marie Thomas calls on Launhardt to be moan. She and the others had suffered, but now it’s about the future. Then she – musically discreetly accompanied by the Vienna Philharmonikers with the Deutschlied song – one of these permeability, which likes the Nazi cinema. Now one also understands why you see farmers at the beginning of the movie, over which the title trickles in monumental letters: homecoming. The central passage only minimally curzed because we often do not know what was in favor of our ancestors in the pear:

We will be destined home, definitely. Somehow we will … go home. […] Home in Germany, there we are no longer weak now. And the people there is no matter how we go, on the contrary. Oh, that Fritz always said. They are very interested in us. And why should not we go home, if we only want. […] but she thinks, people, like that will be. Thinks but blob – if so around us are loud Germans, and not if you get into a charging, that there is a Jiddish or Polish, but German. And not only the whole village will be German, but all around and all around will be German. And we? We will be so in the middle of Germany in the heart of Germany. Thinks but blob, people, like that will be. And why should not that be? On the good old warm earth Germany we will live again. At home and at home. And at night, in our beds, when we wake up from sleep, the heart will be puzzled in his sub-shirts: we sleep in the middle of Germany, home and at home, and all around is the trusting night, and around there Beat millions of German hearts and pals in a forf quiet: At home, you are human, at home, at home, at yours, and will be quite wonderfully about the heart that the crumb of the Ackers and the stucco clay and the fieldstone and the shaded grass and the fluctuating halm, hazelnut shrub and tree, that’s all German is how we themselves belonged to us, because it has grown from the millions of hearts of the Germans who have gone to the earth and the German earth. Because we live not only a German life, we also die a German death. And we still stay German and are a whole piece of Germany. A crumb of the acker for the grain of grandchildren. And from our hearts the vebstock was growing in the sun – in the sun, people who do not hurt us and not sends without even more donation.

In the third empire, the audience was used to this blood-and-ground pathos more than today. Nevertheless, one makes itself slightly laughing with such a jelly. That’s why Ucicky needed none of the former canvas chases for the role of Marie Thomas, but an actress of a Paula Wessely, who could convinced the dialogue?. And that’s why this movie was even worse due to their participation, even if it was Otto de Pasetti, their stripor against the list of occurred by the Americans had liked otherwise. Here the comment Homecoming with movie.at:

The German legislation on Poland as a rescue operation for the Volhynia German German-German: Gerhard Menzel’s script and GUSTAV UCICKYS Directed by its Polish vacuums for mass liquidization, give these monstroses propagandaluge an oppressive suggestiveness. Right to return home as the worst of all Nazi films, because he does not make the dramaturgy of a Western, the mechanisms of terror and increases the tension all the way to almost outstanding. Paula Wessery carries out as a central and perspective figure that helps their work on these machinery and gives actual their best. Nevertheless, you can lose weight that you have already identified contemporary not with the loving apotheosis of the driver, and it is to benefit that you have already known in 1946 to your, healthy ‘: "Today I went that it was wrong, but at that time it was much harder to avoid mistakes as they recognize today, it all had to come up. I had to do through all that." (Filmarchiv Austria)

Arms Paula Wessely. She had to go through. And happy Austria, which also knows the ritual for disposal of an unpleasant past in three simple steps: 1. There were a few bad movies. 2. Even some of our crowd pleasure have participated. 3. But inside they were against them, that’s them "pay for" (we want to check off). If there is still a speech against forgetting, we are all glad. A movie ban is not bad either because you can still remember selectively. the "Dramaturgy of a western" is interesting. That really meets Enemies to. The only Western elements in Homecoming are the German tank in the highest distress (like the cavalry) and a car ride at the end. The Monstrosest Propagandalug of the Film is not that Hitler had to do Poland to rescue the Volhynie Germans, but that Menzel and Ucicky introduce an event of 1941, the surgery to the Soviet Union, in the year 1939 and the Judian population of the 1941 from the Russians occupied city Luzk, which was murdered after the invasion of the Wehrmacht of German Detailed Commands, as the instigators present from the gray greens committed to the people of people.

The film, one says, is our collective thought. If a movie is not allowed to be demonstrated, we preserve our thought of emergencies with websites like movie.at, movie portal.DE or Wikipedia.de. The Jews are no longer available. The real provocation in Elfriede Jelineks Scandalstuck Burgtheater, with whom you for all times "Nest confusion" was not that Jelinek reminded Paula Wessely’s participation in a propaganda film for justifying the invasion of Poland. It is not about whether Wessely was internally for or against an apotheosis of the driver. The provocation is that Jelinek lays its characters the anti-Semitic dialogues in the mouth, the Wessely with the established inbrunt in Homecoming speaks. Thus, for the Judian victims, she picked up the lost place in our collective brace and exposed Wessely’s claim that she has recognized to Spat, in which film she was there and what he could do as hollow phrase. But that was forgotten again, like clicking movie.at etc. shows.

The traditional knowledge ("antipolish" – This is the movie of course too) is obviously so strong that even authors I was aming that they Homecoming In fact, the Jews have hardly concluded and do not ask themselves as it may be that the Wehrmacht conquered a city in the Wolhynia voivodeship in 1939, which at that time with Hitler’s understanding Stalin under the nail tore because she lay in East Poland and not in the west. I do not want to say that I – in contrast to many others – all the woman and never mistaken. Rather, I would like to point out a dilemma with the reserved films: the one writes from the other, and a critical control through the openness barely takes place (actually the goods were a goal of the Unopbitious), because the publicity which somehow on a prohibition list can not see any movies. (Sometimes the control works yet. Thanks to all readers on this occasion, which make me aware of mistakes.To)

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