By David S. Hull
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Additional info for Film in the Third Reich: A Study of the German Cinema, 1933-1945
32 1933: The Subversion of the Film Industry Despite some occasional terrible acting, the film holds up well and is one of the best propaganda films of the 'thirties. The funeral sequence is so realistic that many believed it to be a newsreel, and the crowd scenes are skillfully managed. In style, the film is far closer to the Russian models than to any German film heretofore seen on the screen. Hans Wesfmar is a film that should be seen and studied by anyone interested in mass propaganda, and it is of particular interest when compared with the Ewers book, which is fairly easy to obtain today.
The film again 'brought together the team of Dorothea Wieck and Hertha Thiele, who had scored an enormous success in Miidchen in Uniform (1932). Miss Thiele plays a young girl able to work miracles; she raised her brother from the dead and cured a woman with a de- * Dates in parentheses indicate official premiere as listed in Bauer's index, unless otherwise indicated. " He also produced and directed numerous c'leap films for PRC (Producers Releasing Corporation) during the 1940·s. He returned to Germany after the war and died there in 1967.
Possibly he liked Schmidt's excellent voice; perhaps he was merely playing one of his sardonic jokes. "21 Goebbels never got around to banning the film until October 1937. However, in case anyone thought the government was getting soft on censorship of films, particularly on grounds of "race," Goebbels banned a film called Taifun (Typhoon) only a few days later. This particular work had been directed by Robert Wiene of The Cabinet of Dr. Caligari fame, and starred a number of popular actors in a drama of plauge and other natural catastrophies in Asia.