about the film made to the glory (the very dubious glory) of Leo Schlageter, shot by the French in 1923.
Hitlerjunge Quex, an infinitely better film, tells the oft-repeated story of the son of a Communist workman who becomes a Nazi and dies for the cause. In his dying moments he sees the heavens diapered with swastikas. This film, so characteristic of new Germany in its fervor, has provisionally been banned in France, but it seems to be the most important of the recent pictures. In 1935, rather as the Russians with Eisenstein and Dovzhenko ultimately discovered "the pacific front of labor" after the warlike fervor of the Revolution, so the Germans with a flourish of trumpets produced a very curious film, dedicated to the glory of the labor camps. Monotonous but often impressive, Triumph des Willens is a film without a narrative plot, a film of massed crowds and processions (some of which are magnificently handled) which presumably expresses the climax of mass emotion inspired by Hitler. Its ideology is opposed to that of Marx but produces a similar effect.
Goebbels has definitely taken control of the destiny of the German film. What will be the result? It is impossible to say, as yet. What we must hope is that Germany will not entirely forget what she owes to the Jews and to the Aryans who labored to create her industry. If German films lose their passion for morbidity, so much the better, but it is to be hoped that the films of the future will retain the best things of Pabst, of Lupu Pick and even of Fritz Lang--especially their sense of pictorial composition, their rare mobile and plastic qualities. We must hope that they will forget neither Variety nor Such Is Life nor Maedchen in Uniform nor --what was finest about the product of this country--their irreplaceable humanity.
THE Soviet film industry because of its peculiar constitution underwent no crisis upon the advent of sound. Very few foreign