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Synopsis

The National Socialist propaganda film with Emil Jannings as the lead was awarded – amongst other decorations – the therefore created title “film of the nation”. With a budget of 5.4 million Reichmarks, it was the second-most expensive prestige and propaganda project of the Nazi period; its project is to justify the annihilation politics of the concentration camps, while claiming this to be a creation of the British in South Africa. The historical period is the Boer War (1899-1902); the Boer president and patriarch Paul (Ohm) Krüger campaigns in Europe in vain for the support of his constituents against the English. In flashbacks, Krüger’s conflict with his British rival Cecil Rhodes is well illustrated, as well as the dispute with his initially anglophile son, Jan. In one of the film’s blatantly propagandistic tropes, the cruelty and deceit of the British army simultaneously unites the family in what is in fact a hopeless struggle. The film asserts at the same time that the unsuccessful opposition of the Boers’ was not meaningless: in the last scene of the film, Krüger “prophesies” the downfall of England. —filmportal.de

Director

Original

Hans Steinhoff

Hans Steinhoff (1881-1945) Bavarian film director born in Marienberg on 10 March 1881, Hans Steinhoff abandoned his medical studies to become a theatre actor and director, before embarking on a new career in the cinema in 1922. A prolific, if frequently mediocre film maker (more than forty productions), whose choice of themes under the Third Reich was often dictated by opportunism, Steinhoff became widely known as the director of the first Nazi film, Hitleriunge Quex, the story of the Hitler Youth martyr Heinz Norkus. Made in 1933 at the dawn of the Third Reich, at a time when the Nazi dictatorship was not yet firmly consolidated, the film is interesting chiefly as a document of the prevailing mood of the times and Nazi readiness to integrate the communists into the national community. Steinhoff’s other films tended to be on the heavy side, grandiloquent but lacking in imagination, though his cinematic biographies,Robert Koch (1939), Ohm Krüger (1941) and Rembrandt (1941). were not… read more

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