Jerusalem-based sales agent Go2Films has taken both worldwide rights (excluding North America) and Israeli distribution rights to “Fiddler’s Journey to the Big Screen” by Oscar-nominated director Daniel Raim and narrated by Jeff Goldblum. Kino Lorber and Zeitgeist Films will handle North American distribution on the film, which follows the making of Norman Jewison’s “Fiddler on the Roof.”
The film was meant to have its international premiere in the Official Selection of Palm Springs Film Festival, which was cancelled due to Covid-19. A new international premiere is currently being negotiated. The film will have its market premiere at the European Film Market, running Feb. 10-17.
Go2Films also confirmed it has already closed the first deal for the film ahead of the EFM, with Jiff set to release the film in Australia in November 2022. Israeli documentary channel yes will broadcast the film after its theatrical release in the country,...
The film was meant to have its international premiere in the Official Selection of Palm Springs Film Festival, which was cancelled due to Covid-19. A new international premiere is currently being negotiated. The film will have its market premiere at the European Film Market, running Feb. 10-17.
Go2Films also confirmed it has already closed the first deal for the film ahead of the EFM, with Jiff set to release the film in Australia in November 2022. Israeli documentary channel yes will broadcast the film after its theatrical release in the country,...
- 2/8/2022
- by Leo Barraclough
- Variety Film + TV
In Gregory Monro’s Kubrick by Kubrick from Michel Ciment’s audiotape interview, Stanley Kubrick on why he chose Ryan O’Neal for Barry Lyndon: “Well, he had to be physically attractive, so it couldn’t be Jack Nicholson or Al Pacino.”
In the final instalment of my conversation with Kubrick By Kubrick (a Tribeca Film Festival highlight) director Gregory Monro, we discussed Michel Ciment’s audiotapes, why Stanley Kubrick noted Ryan O’Neal was the right choice for Barry Lyndon, not Jack Nicholson or Al Pacino; wanting to do Napoleon; Veit Harlan, the Aryan Papers, and Steven Spielberg’s Schindler’s List; James Joyce; Full Metal Jacket, and Eyes Wide Shut.
Gregory Monro: “Kubrick’s century is really the 18th. Because it’s a twist in his history and humanity’s history.”
Tribeca Film Festival Artistic Director Frédéric Boyer had mentioned to me Last Film Show (Spotlight Narrative opening film), in which the director,...
In the final instalment of my conversation with Kubrick By Kubrick (a Tribeca Film Festival highlight) director Gregory Monro, we discussed Michel Ciment’s audiotapes, why Stanley Kubrick noted Ryan O’Neal was the right choice for Barry Lyndon, not Jack Nicholson or Al Pacino; wanting to do Napoleon; Veit Harlan, the Aryan Papers, and Steven Spielberg’s Schindler’s List; James Joyce; Full Metal Jacket, and Eyes Wide Shut.
Gregory Monro: “Kubrick’s century is really the 18th. Because it’s a twist in his history and humanity’s history.”
Tribeca Film Festival Artistic Director Frédéric Boyer had mentioned to me Last Film Show (Spotlight Narrative opening film), in which the director,...
- 7/27/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Review by Roger Carpenter
During the Nazi Regime’s reign over Germany and much of Europe, over 1,200 feature films were made. At least 100 of these films were blatant Nazi propaganda and, of those films, at least 40 of them are still kept from public viewing in Germany and Austria except under extraordinary circumstances.
These films include The Eternal Jew, an anti-Semitic documentary, The Rothschilds, which featured the Jewish Rothschilds family in a negative light, as well as Jew Sus, widely believed to be the most anti-Semitic film of all time, with director Veit Harlan actually standing trial for crimes against humanity after the war.
But 70 years on, do these films really retain the same impact as they did upon their initial release? Would people really take these films seriously? What impact might they have on children? These, and many other questions, are explored in this fascinating documentary about the Hitler-Goebbels propaganda film-making machine.
During the Nazi Regime’s reign over Germany and much of Europe, over 1,200 feature films were made. At least 100 of these films were blatant Nazi propaganda and, of those films, at least 40 of them are still kept from public viewing in Germany and Austria except under extraordinary circumstances.
These films include The Eternal Jew, an anti-Semitic documentary, The Rothschilds, which featured the Jewish Rothschilds family in a negative light, as well as Jew Sus, widely believed to be the most anti-Semitic film of all time, with director Veit Harlan actually standing trial for crimes against humanity after the war.
But 70 years on, do these films really retain the same impact as they did upon their initial release? Would people really take these films seriously? What impact might they have on children? These, and many other questions, are explored in this fascinating documentary about the Hitler-Goebbels propaganda film-making machine.
- 6/6/2018
- by Movie Geeks
- WeAreMovieGeeks.com
Leon Vitali with Anne-Katrin Titze on Stanley Kubrick and the casting of Danny Lloyd for The Shining: "I could make that boy [David Morley in Barry Lyndon] focus." Photo: David Ninh
Tony Zierra's exhaustive Filmworker, which had its world première in last year's Cannes Film Festival (Christopher Nolan will present 2001: A Space Odyssey on a remastered 70mm print this year), tackles the volatile and loving relationship of the most indispensable person in Stanley Kubrick's world. Through interviews that include Matthew Modine, R Lee Ermey, and Tim Colceri on Full Metal Jacket, Marie Richardson and Lisa Leone on Eyes Wide Shut, Ryan O'Neal on Barry Lyndon, Danny Lloyd on The Shining, and executive producer Jan Harlan (nephew of Veit Harlan and brother of Christiane Kubrick) we learn about the all-encompassing role Leon Vitali ended up playing in the life of the demanding film director.
Leon Vitali as Lord Bullingdon: "As an actor,...
Tony Zierra's exhaustive Filmworker, which had its world première in last year's Cannes Film Festival (Christopher Nolan will present 2001: A Space Odyssey on a remastered 70mm print this year), tackles the volatile and loving relationship of the most indispensable person in Stanley Kubrick's world. Through interviews that include Matthew Modine, R Lee Ermey, and Tim Colceri on Full Metal Jacket, Marie Richardson and Lisa Leone on Eyes Wide Shut, Ryan O'Neal on Barry Lyndon, Danny Lloyd on The Shining, and executive producer Jan Harlan (nephew of Veit Harlan and brother of Christiane Kubrick) we learn about the all-encompassing role Leon Vitali ended up playing in the life of the demanding film director.
Leon Vitali as Lord Bullingdon: "As an actor,...
- 5/13/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Brooklyn Diner - Norman's (Richard Gere) tip to Jo Wilf (Harris Yulin): "That meeting happens here." Photo: Anne-Katrin Titze
Richard Gere and Lior Ashkenazi give Oscar caliber performances in Joseph Cedar's Sony Pictures Classics and Tadmor Entertainment's Norman: The Moderate Rise And Tragic Fall Of A New York Fixer, with a very strong supporting cast that includes Harris Yulin, Hank Azaria, Charlotte Gainsbourg, Dan Stevens, Michael Sheen, Steve Buscemi, Josh Charles, and Isaach De Bankolé.
Joseph Cedar: "Luxury in general, at least from my point of view, has to come with a certain kind of wink." Photo: Anne-Katrin Titze
On Sunday morning, the director of the Oscar-nominated Footnote (Hearat Shulayim) met with me at the Brooklyn Diner, one of the locations used in his latest film. We discussed his production designers Kalina Ivanov and Arad Sawat, costume designers Ann Roth and Michelle Matland, Harvey Weinstein and Otto Preminger's Exodus,...
Richard Gere and Lior Ashkenazi give Oscar caliber performances in Joseph Cedar's Sony Pictures Classics and Tadmor Entertainment's Norman: The Moderate Rise And Tragic Fall Of A New York Fixer, with a very strong supporting cast that includes Harris Yulin, Hank Azaria, Charlotte Gainsbourg, Dan Stevens, Michael Sheen, Steve Buscemi, Josh Charles, and Isaach De Bankolé.
Joseph Cedar: "Luxury in general, at least from my point of view, has to come with a certain kind of wink." Photo: Anne-Katrin Titze
On Sunday morning, the director of the Oscar-nominated Footnote (Hearat Shulayim) met with me at the Brooklyn Diner, one of the locations used in his latest film. We discussed his production designers Kalina Ivanov and Arad Sawat, costume designers Ann Roth and Michelle Matland, Harvey Weinstein and Otto Preminger's Exodus,...
- 4/10/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
She was the Nazis’ pin-up, the Aryan sex symbol whose films fired up the SS. In this previously unpublished interview, Kristina Söderbaum talks about Hitler’s charm, shooting scenes as the Allies closed in – and being nicknamed the State Water Corpse
In the early 1990s, I interviewed a large number of Germans who had risen to prominence in the film industry under the Nazis. I spoke to actors, directors, critics and politicians. I met Leni Riefenstahl’s cameraman, the composer who wrote Lili Marleen, and the woman who could be called the Nazi Marilyn Monroe, Kristina Söderbaum.
We drove to Horw, near Lucerne, to interview Söderbaum, star of many films, most of them directed by her husband, Veit Harlan. These included Jud Süß, widely regarded as the most antisemitic film ever, and the ridiculous epic Kolberg, about the Napoleonic siege of the Prussian city. Söderbaum was so often drowned in...
In the early 1990s, I interviewed a large number of Germans who had risen to prominence in the film industry under the Nazis. I spoke to actors, directors, critics and politicians. I met Leni Riefenstahl’s cameraman, the composer who wrote Lili Marleen, and the woman who could be called the Nazi Marilyn Monroe, Kristina Söderbaum.
We drove to Horw, near Lucerne, to interview Söderbaum, star of many films, most of them directed by her husband, Veit Harlan. These included Jud Süß, widely regarded as the most antisemitic film ever, and the ridiculous epic Kolberg, about the Napoleonic siege of the Prussian city. Söderbaum was so often drowned in...
- 4/3/2017
- by Karen Liebreich
- The Guardian - Film News
The selection for the 2016 Venice Film Festival has been announced, with new films by Terrence Malick, Pablo Larraín, Lav Diaz, Wang Bing, Amat Escalante, Tom Ford, and more.COMPETITIONVoyage of TimeThe Bad Batch (Ana Lily Amirpour)Une vie i (Stéphane Brizé)La La Land (Damien Chazelle)The Light Between Oceans (Derek Cianfrance)El ciudadano ilustre (Mariano Cohn, Gastón Duprat)Spira Mirabilis (Massimo D'Anolfi, Martina Parenti)The Woman Who Left (Lav Diaz)La región salvaje (Amat Escalante)Nocturnal Animals (Tom Ford)Piuma (Roan Johnson)Paradise (Andrei Konchalovsky)Brimstone (Martin Koolhoven)Jackie (Pablo Larraín)Voyage of Time (Terrence Malick)El Cristo Ciego (Christopher Murray)Frantz (François Ozon)Questi Giorni (Giuseppe Piccioni)Arrival (Denis Villeneuve)Les beaux jours D'Aranjuez (Wim Wenders)Out Of COMPETITIONSafariOur War (Bruno Chiaravolloti, Claudio Jampaglia, Benedetta Argentieri)I Called Him Morgan (Kasper Collin)One More Time with Feeling (Andrew Dominik)The Bleeder (Philippe Falardeau)The Magnificent Seven (Antoine Fuqua...
- 7/28/2016
- MUBI
Titles this year range from Kurosawa’s Seven Samurai to John Landis’s An American Werewolf In London.
The selection of restored titles screening at this year’s Venice Film Festival (Aug 31 - Sept 10) have been revealed.
Italian director Roberto Andò (The Confessions) will oversee the strand’s jury of cinema history students which will award two prizes: Best Restored Film and Best Documentary On Cinema (the line-up of the latter will be revealed at a later date).
Now in its fifth year, this year’s selection includes Kurosawa’s Seven Samurai, Woody Allen’s Manhattan, John Landis’s An American Werewolf In London, Andrei Tarkovsky’s Stalker, and George A Romero’s Dawn Of The Dead amongst a host of other restorations.
The full Venice Film Festival line-up will be revealed on Thursday (July 28).
Venice Classics 2016 line-up:
1848, Dino Risi (Italy, 1948, 11’, B/W)
restored by: Archivio Nazionale Cinema Impresa-csc-Cineteca Nazionale and Veneranda Fabbrica del Duomo di Milano...
The selection of restored titles screening at this year’s Venice Film Festival (Aug 31 - Sept 10) have been revealed.
Italian director Roberto Andò (The Confessions) will oversee the strand’s jury of cinema history students which will award two prizes: Best Restored Film and Best Documentary On Cinema (the line-up of the latter will be revealed at a later date).
Now in its fifth year, this year’s selection includes Kurosawa’s Seven Samurai, Woody Allen’s Manhattan, John Landis’s An American Werewolf In London, Andrei Tarkovsky’s Stalker, and George A Romero’s Dawn Of The Dead amongst a host of other restorations.
The full Venice Film Festival line-up will be revealed on Thursday (July 28).
Venice Classics 2016 line-up:
1848, Dino Risi (Italy, 1948, 11’, B/W)
restored by: Archivio Nazionale Cinema Impresa-csc-Cineteca Nazionale and Veneranda Fabbrica del Duomo di Milano...
- 7/25/2016
- ScreenDaily
Sales agent Wide House is to be reunited with German filmmaker Rüdiger Suchsland on his next documentary Hitler’s Hollywood for delivery next year.
Wide House’s Anais Clanet confirmed at this week’s Dok Leipzig that she will be handling sales on Suchland’s new project after selling his first documentary, From Caligari To Hitler [pictured], which premiered at Venice 2014 in the Classics sidebar.
Speaking to ScreenDaily in Leipzig, Suchsland revealed that his second collaboration with the Berlin-based Looks Film & TV and Wiesbaden’s Friedrich Wilhelm Murnau Foundation has already received backing from Medienboard Berlin-Brandenburg, HessenInvestFilm, and broadcasters Zdf/Arte.
“Hollywood was always something that the Nazis wanted to emulate,” he explained with reference to the film’s title.
“Speeches and documents provide evidence that there was a clear plan by the Nazis, and particularly Goebbels and Hitler, to establish a kind of alternative Hollywood, to copy Hollywood’s international success and to use it for Nazi...
Wide House’s Anais Clanet confirmed at this week’s Dok Leipzig that she will be handling sales on Suchland’s new project after selling his first documentary, From Caligari To Hitler [pictured], which premiered at Venice 2014 in the Classics sidebar.
Speaking to ScreenDaily in Leipzig, Suchsland revealed that his second collaboration with the Berlin-based Looks Film & TV and Wiesbaden’s Friedrich Wilhelm Murnau Foundation has already received backing from Medienboard Berlin-Brandenburg, HessenInvestFilm, and broadcasters Zdf/Arte.
“Hollywood was always something that the Nazis wanted to emulate,” he explained with reference to the film’s title.
“Speeches and documents provide evidence that there was a clear plan by the Nazis, and particularly Goebbels and Hitler, to establish a kind of alternative Hollywood, to copy Hollywood’s international success and to use it for Nazi...
- 10/30/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Part I. A Filmmaker’s Apotheosis
April 20th, 1938 marked Adolf Hitler’s 49th birthday. In the past five years, he’d rebuilt Germany from destitute anarchy into a burgeoning war machine, repudiated the Versailles Treaty and, that March, incorporated Austria into his Thousand-Year Reich. In Nazi Germany, fantasy co-mingled with ideology, expressing an obsession with Germany’s mythical past through propaganda and art. Fittingly, Hitler celebrated at the Ufa-Palast am Zoo in Berlin, Germany’s most prestigious cinema.
There, Nazi officials and foreign diplomats joined dignitaries of German kultur. Present were Wilhelm Furtwangler, conductor of Berlin’s Philharmonic Orchestra; Albert Speer, Hitler’s architect and confidante; actor Gustaf Grundgens, transformed from Brechtian Bolshevik to director of Prussia’s State Theater; and movie star Emil Jannings, Oscar-winner of The Lost Command and The Blue Angel, now an Artist of the State. Also Propaganda Minister Joseph Goebbels, who nationalized German cinema in...
April 20th, 1938 marked Adolf Hitler’s 49th birthday. In the past five years, he’d rebuilt Germany from destitute anarchy into a burgeoning war machine, repudiated the Versailles Treaty and, that March, incorporated Austria into his Thousand-Year Reich. In Nazi Germany, fantasy co-mingled with ideology, expressing an obsession with Germany’s mythical past through propaganda and art. Fittingly, Hitler celebrated at the Ufa-Palast am Zoo in Berlin, Germany’s most prestigious cinema.
There, Nazi officials and foreign diplomats joined dignitaries of German kultur. Present were Wilhelm Furtwangler, conductor of Berlin’s Philharmonic Orchestra; Albert Speer, Hitler’s architect and confidante; actor Gustaf Grundgens, transformed from Brechtian Bolshevik to director of Prussia’s State Theater; and movie star Emil Jannings, Oscar-winner of The Lost Command and The Blue Angel, now an Artist of the State. Also Propaganda Minister Joseph Goebbels, who nationalized German cinema in...
- 7/8/2015
- by Christopher Saunders
- SoundOnSight
Claude Lanzmann with Kent Jones on The Last of the Unjust: "The general tone of Shoah was epic. This is not epic." Photo: Anne-Katrin Titze
In part two of our conversation, Kent Jones and I continue with questions of memory and justice and discuss the connective tissue of World War II in Jimmy P: Psychotherapy Of A Plains Indian with Claude Lanzmann's The Last of the Unjust and Shoah, Stanley Kubrick's unfinished Aryan Papers, Kristina Söderbaum, Thomas and Veit Harlan and the positioning of Steven Spielberg's Schindler's List.
In part one we discussed the loops to Paul Thomas Anderson's The Master, the place of the American landscape, why Sam Shepard's mystical west is radically different from what is shown in Arnaud Desplechin's Jimmy P. and how the relationship of cinema and psychoanalysis falls flat - from Alfred Hitchcock to Robert Bresson and François Truffaut.
In part two of our conversation, Kent Jones and I continue with questions of memory and justice and discuss the connective tissue of World War II in Jimmy P: Psychotherapy Of A Plains Indian with Claude Lanzmann's The Last of the Unjust and Shoah, Stanley Kubrick's unfinished Aryan Papers, Kristina Söderbaum, Thomas and Veit Harlan and the positioning of Steven Spielberg's Schindler's List.
In part one we discussed the loops to Paul Thomas Anderson's The Master, the place of the American landscape, why Sam Shepard's mystical west is radically different from what is shown in Arnaud Desplechin's Jimmy P. and how the relationship of cinema and psychoanalysis falls flat - from Alfred Hitchcock to Robert Bresson and François Truffaut.
- 2/16/2014
- by Anne-Katrin Titze
- eyeforfilm.co.uk
"America Lost & Found: The Bbs Story" (1968-1972)
Released by Criterion Collection
A set of seven films that's as diverse and wild as the era in which they were born, Criterion's reassembly of Bbs Studios' run from 1968 through 1972 boasts influential hits like "Easy Rider," "Five Easy Pieces" and "King of Marvin Gardens" and obscurities like Jack Nicholson's directorial debut "Drive, He Said" and Henry Jaglom's "A Safe Place" that have never been on DVD before. New interviews, vintage documentaries and much more from directors Bob Rafelson, Peter Bogdanovich (whose "Last Picture Show" is also included), Nicholson and the late Dennis Hopper highlight a collection that doubles as a history of when there was a changing of the guard in American cinema.
"Countdown to Zero" (2010)
Directed by Lucy Walker
Released by Magnolia Home Entertainment
This "scareumentary," as our own Alison Willmore termed it in her review, reunites Participant Media and...
Released by Criterion Collection
A set of seven films that's as diverse and wild as the era in which they were born, Criterion's reassembly of Bbs Studios' run from 1968 through 1972 boasts influential hits like "Easy Rider," "Five Easy Pieces" and "King of Marvin Gardens" and obscurities like Jack Nicholson's directorial debut "Drive, He Said" and Henry Jaglom's "A Safe Place" that have never been on DVD before. New interviews, vintage documentaries and much more from directors Bob Rafelson, Peter Bogdanovich (whose "Last Picture Show" is also included), Nicholson and the late Dennis Hopper highlight a collection that doubles as a history of when there was a changing of the guard in American cinema.
"Countdown to Zero" (2010)
Directed by Lucy Walker
Released by Magnolia Home Entertainment
This "scareumentary," as our own Alison Willmore termed it in her review, reunites Participant Media and...
- 11/23/2010
- by Stephen Saito
- ifc.com
Christiane Kubrick had 42 wonderful years with her husband. But in the decade since his death, she has been beset by tragedy. For the first time, she talks about losing one daughter to cancer, another to Scientology – and why her uncle made films for Goebbels
It's Thursday evening and the tiny figure of Christiane Kubrick takes to the stage at Somerset House on the Strand in London, to introduce an open-air screening of her late husband's film Paths of Glory. She reads from a prepared script: "Important events in life feel like they happened yesterday. But it was 53 years ago that Stanley saw me on German television and hired me . . ."
Stanley Kubrick gave Christiane the part of a bar singer. They married and barely left one another's side for the next 42 years. They raised three children: Anya and Vivian, plus Katharina, her daughter from an earlier marriage. Now, when she isn't...
It's Thursday evening and the tiny figure of Christiane Kubrick takes to the stage at Somerset House on the Strand in London, to introduce an open-air screening of her late husband's film Paths of Glory. She reads from a prepared script: "Important events in life feel like they happened yesterday. But it was 53 years ago that Stanley saw me on German television and hired me . . ."
Stanley Kubrick gave Christiane the part of a bar singer. They married and barely left one another's side for the next 42 years. They raised three children: Anya and Vivian, plus Katharina, her daughter from an earlier marriage. Now, when she isn't...
- 8/19/2010
- by Jon Ronson
- The Guardian - Film News
A thought provoking film about a dreadful body of work and its legacy for those yet unborn Respected German film director Veit Harlan created a serious problem for his progeny when he made a spectacularly successful film. The film was titled .Jew Suss. and it depicted a heart breaking story of deceit, political betrayal and the destruction of the innocent. If that story line sounds like a million or so films made and consumed by Americans, it does, because it is. The influence of German filmmakers of the 1930s and 1940s on American cinema cannot be denied. They formed the basis of what because to be known as expressionist film, the Fort Knox of bombastic and sometimes horrific kitsch.
- 4/19/2010
- by Ron Wilkinson
- Monsters and Critics
Chicago – We’re back with week two of the 13th Annual EU Film Festival at the Siskel Film Center, one of the best film events of the year in the Windy City. If you missed part one of our coverage, and want to relive highlights of last week, check it out here. On to week two…
This year’s edition, running from March 5th to April 1st, includes high profile films from world renowned filmmakers like Peter Greenaway, Jacques Rivette, Neil Jordan, Catherine Breillat, Amos Gital, Bruno Dumont, Jan Hrebejk and Caroline Link. Moviegoers should take note of the fact that several of these titles won’t be screened outside of the EU festival in Chicago, making their appearance here all the more priceless.
The 13th Annual European Union Film Festival includes 59 feature films, all of which are making their Chicago premiere. If you’ve had your fill with Hollywood,...
This year’s edition, running from March 5th to April 1st, includes high profile films from world renowned filmmakers like Peter Greenaway, Jacques Rivette, Neil Jordan, Catherine Breillat, Amos Gital, Bruno Dumont, Jan Hrebejk and Caroline Link. Moviegoers should take note of the fact that several of these titles won’t be screened outside of the EU festival in Chicago, making their appearance here all the more priceless.
The 13th Annual European Union Film Festival includes 59 feature films, all of which are making their Chicago premiere. If you’ve had your fill with Hollywood,...
- 3/11/2010
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
"Thats none of your business," an agitated man said. Kristian Harlan is his name. He's sat at his kitchen table, a mixed bundle of emotions. He's stubborn in maintaining that his opinion of his father should be private, yet appears to recognize a sense of obligation to speak. Kristian is just one of over a dozen family members interviewed for this documentary. Some of them are painfully aware of their legacy, others have a harder time superimposing such horror on their relatives. But they're all part of the Harlan clan.
Their long-deceased patriach, Veit Harlan, was Joseph Goebbels' golden boy during the Third Reich. The Harlan family tree's legacy is Jew Suss; a movie so anti-Semitic and unapologetically fearmongering that Goebbels declared it required viewing for anyone in the SS.
Harlan probes the family as they are today, to see their wildly conflicting reactions to this fact and how...
Their long-deceased patriach, Veit Harlan, was Joseph Goebbels' golden boy during the Third Reich. The Harlan family tree's legacy is Jew Suss; a movie so anti-Semitic and unapologetically fearmongering that Goebbels declared it required viewing for anyone in the SS.
Harlan probes the family as they are today, to see their wildly conflicting reactions to this fact and how...
- 3/9/2010
- by Arya Ponto
- JustPressPlay.net
Mighty Movie Podcast: Holocaust, the Movie: Moeller and Jacoby on Harlan - In the Shadow of Jew Suss
It's typical in these circumstances to say, "I don't know what came over me." But I do know what came over me: I was going to interview Felix Moeller about his new documentary, Harlan - In the Shadow of Jew Suss -- the film about German director Veit Harlan, his infamous, anti-Semitic 1940 creation Jew Suss, and the repercussions said film and the man himself had on his descendents -- when I was informed that one of the film's subjects, journalist, critic, and Harlan niece Jessica Jacoby, would also be available. I agreed to interview them both, but then ran into a brick wall in my planning: I wished to have a candid discussion with Moeller about how he confronted so difficult a subject, and the presence of Jacoby -- a woman who, I figured, had undergone every form of...
- 3/6/2010
- by Dan Persons
- Huffington Post
Updated.
To my knowledge, the only film in Competition at this year's Berlinale to be booed — and vigorously booed at that — was Oskar Roehler's Jew Suss - Rise and Fall (Jud Süss - Film ohne Gewissen, literally "Film without Conscience"), which purports to tell the story of the making of Jud Süß, the notoriously anti-Semitic film, wildly popular in Nazi Germany and beyond following its release in 1940. Pictured up there in all but desaturated grays and browns are Justus von Dohnany as Jud Süß director Veit Harlan, Moritz Bleibtreu as Joseph Goebbels, paying a visit to the set, Tobias Moretti as Ferdinand Marian, portraying, in turn, Joseph Süß Oppenheimer, and some poor fellow who goes unnamed in the photo credits. Roehler's film doesn't see a release until late summer, so let's turn first to Felix Moeller's documentary, Harlan: In the Shadow of Jew Süss, opening today at New...
To my knowledge, the only film in Competition at this year's Berlinale to be booed — and vigorously booed at that — was Oskar Roehler's Jew Suss - Rise and Fall (Jud Süss - Film ohne Gewissen, literally "Film without Conscience"), which purports to tell the story of the making of Jud Süß, the notoriously anti-Semitic film, wildly popular in Nazi Germany and beyond following its release in 1940. Pictured up there in all but desaturated grays and browns are Justus von Dohnany as Jud Süß director Veit Harlan, Moritz Bleibtreu as Joseph Goebbels, paying a visit to the set, Tobias Moretti as Ferdinand Marian, portraying, in turn, Joseph Süß Oppenheimer, and some poor fellow who goes unnamed in the photo credits. Roehler's film doesn't see a release until late summer, so let's turn first to Felix Moeller's documentary, Harlan: In the Shadow of Jew Süss, opening today at New...
- 3/3/2010
- MUBI
"In the history of the cinema, the German director Veit Harlan occupies an especially ignominious position," writes Larry Rother in the New York Times. "It is his name that is attached to 'Jew Süss,' perhaps the most notoriously anti-Semitic movie ever made, a box office success in Nazi Germany in 1940 that was so effective that it was made required viewing for all members of the SS. But what motivated Harlan ...
- 3/3/2010
- Indiewire
A new film about the making of Joseph Goebbels's 1940 attempt to outdo Hollywood is itself attracting controversy
It is still one of the most notorious films ever made: a perfidious, rabble-rousing, antisemitic product of the Nazi era, an infamous work of propaganda that is still kept under lock and key in the German film archives since it was banned in 1945. Jud Süss, originally made in 1940 and currently available for viewing only by a handful of bona fide academics and film historians, is back in the public eye owing to a new film about its creation, in what is the latest attempt by German cinema to dramatise the country's recent past.
Jud Süss: A Film Without a Conscience premiered at the Berlin film festival last week, and tells the story behind the Nazi project to make a historical costume melodrama so powerful and star-studded that it had the potential to...
It is still one of the most notorious films ever made: a perfidious, rabble-rousing, antisemitic product of the Nazi era, an infamous work of propaganda that is still kept under lock and key in the German film archives since it was banned in 1945. Jud Süss, originally made in 1940 and currently available for viewing only by a handful of bona fide academics and film historians, is back in the public eye owing to a new film about its creation, in what is the latest attempt by German cinema to dramatise the country's recent past.
Jud Süss: A Film Without a Conscience premiered at the Berlin film festival last week, and tells the story behind the Nazi project to make a historical costume melodrama so powerful and star-studded that it had the potential to...
- 2/25/2010
- by Kate Connolly
- The Guardian - Film News
How would you react if I told you that this year, in the middle of Berlin, you will have a chance to see the reincarnated version of the forbidden German movie?
It’s not a joke, and we are talking nothing but the truth! Jew Suss – Rise and Fall (Jud Suess – Film ohne Gewissen), stirred a controversy at its premiere at the Berlin Film Festival Thursday In Competition.
Movie about a movie, that’s how we could start this story. Extraordinary analyze of the Nazi – time in Germany, that will give you a new look at the past, brought to you by German director Oskar Roehler.
But let me tell you just one thing, if you expect to see some old war themes in this one – forget it! This time you will have an opportunity to see smart, charming, and highly intelligent man, Joseph Goebbels, who knew how to manipulate with his knowledge,...
It’s not a joke, and we are talking nothing but the truth! Jew Suss – Rise and Fall (Jud Suess – Film ohne Gewissen), stirred a controversy at its premiere at the Berlin Film Festival Thursday In Competition.
Movie about a movie, that’s how we could start this story. Extraordinary analyze of the Nazi – time in Germany, that will give you a new look at the past, brought to you by German director Oskar Roehler.
But let me tell you just one thing, if you expect to see some old war themes in this one – forget it! This time you will have an opportunity to see smart, charming, and highly intelligent man, Joseph Goebbels, who knew how to manipulate with his knowledge,...
- 2/19/2010
- by Fiona
- Filmofilia
What a difference a year makes! Just after World War II, hundreds of French citizens who like Maréchal Pétain and Pierre Laval collaborated with the Nazi regime, became "resistance fighters." So it seems in Germany as well, as tens of thousands, perhaps millions of Germans who shouted "Heil Hitler" became "disgusted" with everything to do with Nazism, particularly with the Holocaust. With the film "Harlan-In the Shadow of Jew Süss," writer-director Felix Moeller deals with a filmmaker who quite obviously collaborated with the Nazi ideology in that he made anti-Semitic films while glorifying the Third Reich but who, like Adolf Eichmann and so many other top criminals, caviled that they were forced to do as the apparatchiks commanded.Harlan-in The Shadow Of Jew SÜSS (Harlan-Im Schatten von Jud Süß)
Zeitgeist Films
Reviewed for Arizona Reporter by Harvey Karten
Grade: B
Directed by: Felix Moeller
Written By: Felix Moeller
Cast: Stefan Drössler,...
Zeitgeist Films
Reviewed for Arizona Reporter by Harvey Karten
Grade: B
Directed by: Felix Moeller
Written By: Felix Moeller
Cast: Stefan Drössler,...
- 2/6/2010
- Arizona Reporter
In the Telluride catalog, Slavoj Zizek calls The Great Sacrifice, "the supreme achievement of the Nazi melodrama." Before the film's screening at the festival Sunday morning, in Zizek's inimitable way, he put the work of director Veit Harlan into context. "[Harlan was] one of the Big 3 of Nazi cinema. Number 1 was Leni Reifenstahl, number 2 was Douglas Sirk. These two, I think, they can be redeemed. [With] Leni, the impotence of the analysis starts with, you think she's a bad girl...but it does ...
- 9/1/2008
- by Karina Longworth
- Spout
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