German Film Propaganda Methods

Dominion, Volume 33, Issue 186, 3 May 1940, Page 5

German Film Propaganda Methods

THE making of feature films in Germany is as carefully supervised as the propaganda picture output (writes Dilys Powell in the “Sunday Express”). Every film scenario must be submitted to Dr. Goebbels, who decides whether or not it is fit to go into production. As a result the only stories which reach the screen are stories of patriot ism and Nazi triumphs; the tale of the soldier sinking to the gutter after the Great War, then seeing the light of Nazi ideals and fetching up as a party boss. The German audiences are bored, but have no alternatives. Professional criticism bits been gagged. After the first outburst of sycophancy in 1933 there was. it is true, a certain freedom of opinion. But in 1930 .'i writer bad the temerity to attack n film for which Dr. Goebbels himself was tesiHinsible. Next, day the critic was removed to a concentration camp, ami before long a list of rules was drawn up by the Minister of Propaganda.

No critic, it seems, must be less than thirty years of age. Reviews must be signed with the writer’s full name, and an interval of twenty-four hours bet ween his visit to the cinema and the handing in of his article must elapse to guard against hasty judgments. Novices must undergo at lease two years’ training, at the end of which they must pass an examination before becoming qualified critics. Finally, no German film must be attacked. A few American films are still shown in Germany, and if any attacks are to be made, they ean be made on the Americans.

Mr. William Archer, the distinguished London critic, says: “The author of ‘The Voysey Inheritance’ and ‘Waste’ stands, in my eyes, second to none of his contemporaries. lam not sure that these are not the greatest plays of our time. I have just re-read them with unbounded admiration. Mr. Barker has, like the rest of us, his mannerisms. But I submit that in ‘The Voysey Inheritance” we have an English family group presented with a mastery of workmanship and a depth of colour that reminds us of a canvas of Rembrandt or Franz Hals, with subtle and original art.”

'VVARNERS have offered Columbia £5OOO for Edith Fellows’ contract. Columbia have refused, because they intend to build her into an adult star and are now planning her first love scene on the screen.