Hans Westmar

Hans Westmar
Hans Westmar
	Screenshot from German movie "Hans Westmar. One of many. A German Fate from the Year 1929"
Directed by	Franz Wenzler
Written by	Hanns Heinz Ewers
Produced by	Robert Ernst
Starring	Emil Lohkamp; Paul Wegener
Cinematography	Franz Weihmayr
Edited by	Alice Ludwig
Music by	Giuseppe Becce; Ernst Hanfstaengl
Production; company	Volksdeutsche Filmgesellschaft
Distributed by	Siegel-Monopolfilm
Release date	13 December 1933;
Running time	132 minutes
Country	Nazi Germany
Language	German

Hans Westmar (full title: Hans Westmar. Einer von vielen. Ein deutsches Schicksal aus dem Jahre 1929 "Hans Westmar. One of many. A German Fate from the Year 1929") was the last of an unofficial trilogy of films produced by the Nazis shortly after coming to power in January 1933, celebrating their Kampfzeit – the history of their period in opposition, struggling to gain power. The film is a partially fictionalized biography of the Nazi martyr Horst Wessel.

Plot

The film concentrates on the conflict with the Communist Party of Germany in Berlin in the late 1920s. When Westmar arrives in Berlin, the communists are popular, hold large parades through Berlin and sing "The Internationale". When he looks into the cultural life of Weimar Berlin, he is horrified at the "internationalism" and cultural promiscuity, which includes black jazz music and Jewish nightclub singers. That scene dissolves into images of the German fighting men of World War I and shots of the cemeteries of the German dead.

Westmar decides to help organize the local Nazi Party and becomes, through the course of the plot, responsible for its electoral victories, which encourages the Communists to kill him.

Production

The recently established Volksdeutsche Filmgesellschaft produced the film based on Hanns Heinz Ewers' novelistic biography of Horst Wessel.^[1] It was among the first films to depict dying for Hitler as a glorious death for Germany and as resulting in his spirit inspiring his comrades.^[2] His decision to go to the streets is presented as fighting "the real battle".^[3]

This was the third adaption of Wessel's life after being covered in Blutendes Deutschland and a short made by Franz Wenzler in 1932. Wenzler was the director and Richard Fiedler, a SA-Oberführer, oversaw the film's production. Giuseppe Becce and Ernst Hanfstaengl, a friend of Adolf Hitler, composed the music. Hertha Thiele declined an offer to star in the film.^[4]^[5]

Along with SA-Mann and Hitlerjunge Quex, Hans Westmar was the last of the trilogy of films released in 1933, and designed to present an idealized account of the Nazis' 'heroic struggle' to come to power in Germany.^[6]

Release

Hans Westmar was shown to a group of Nazi leaders, including Hermann Göring, on 3 October 1933. It was met with praise, with Jules Sauerwein [fr] writing in Deutsche Allgemeine Zeitung that it was "one of the best he had ever seen". The film was scheduled to be released on 9 October, Wessel's birthday.^[5]

The film was banned shortly before its premiere^[7] since Horst Wessel was shown in prostitution and in a Christian milieu. According to the Nazi Film Review Office the film "does neither do justice to Horst Wessel's personality nor to the national socialist movement as the leader of the state".^[8]

Goebbels justified the ban as follows:

"As national socialists we do not particularly value to watch our SA marching on stage or screen. Her sphere are the streets. Should however somebody try to solve national socialist problems in the realm of art, he must understand that also in this case the art does not come from ambition but ability. Even an ostentatious display of a national socialist attitude is no substitute for an absence of true art. The national socialist government has never demanded the production of SA-movies. On the contrary: we see a danger in this excess. […] In no way does national socialism justify artistic failure. The greater the idea that shall find a form the greater the aesthetic demands have to be."^[9]

Goebbels allowed the film to be shown on the condition that the title be changed from Horst Wessel to Hans Westmar. It was approved by the censors on 23 November and released on 13 December.^[10] One reason may have been to avoid "de-mystifying" Wessel.^[11] Part of the problem was that authentic depiction of Stormtroopers, including picking fights with Communists, did not fit the more reasonable tone that the Nazis adopted in power and would undermine Volksgemeinschaft. The fictionalised Westmar, unlike Wessel, does not alienate his family.^[12] It was released in the United States in 1939.^[13]

References

^ Welch 1983, pp. 61–62.
^ Erwin Leiser, Nazi Cinema p24 ISBN 0-02-570230-0
^ Richard Overy, The Dictators: Hitler's Germany, Stalin's Russia, p462 ISBN 0-393-02030-4
^ Waldman 2008, pp. 193–194.
^ ^a ^b Welch 1983, pp. 62.
^ Welch 1983, pp. 40.
^ Welch 1983, pp. 62–63.
^ Alfred Bauer: Deutscher Spielfilm Almanach 1929–1950. New edition 1976, p. 190. Original in German: "weder der Gestalt Horst Wessels noch der nat. soz. Bewegung als der Trägerin des Staates gerecht"
^ Erwin Leiser: „Deutschland, erwache!“ Propaganda im Film des Dritten Reiches. Rowohlt, Reinbek bei Hamburg 1968, p. 30. Original in German: Wir Nationalsozialisten legen an sich keinen gesteigerten Wert darauf, daß unsere SA über die Bühne oder über die Leinwand marschiert. Ihr Gebiet ist die Straße. Wenn aber jemand an die Lösung nationalsozialistischer Probleme auf künstlerischem Gebiet herangeht, dann muß er sich darüber klar sein, daß auch in diesem Falle Kunst nicht von Wollen, sondern von Können herkommt. Auch eine ostentativ zur Schau getragene nationalsozialistische Gesinnung ersetzt noch lange nicht den Mangel an wahrer Kunst. Die nationalsozialistische Regierung hat niemals verlangt, daß SA-Filme gedreht werden. Im Gegenteil: sie sieht sogar in ihrem Übermaß eine Gefahr. […] Der Nationalsozialismus bedeutet unter gar keinen Umständen einen Freibrief für künstlerisches Versagen. Im Gegenteil, je größer die Idee, die zur Gestaltung kommt, desto höhere künstlerische Ansprüche müssen daran gestellt werden."
^ Welch 1983, pp. 63.
^ Robert Edwin Hertzstein, The War That Hitler Won p 262 ISBN 0-399-11845-4
^ Claudia Koonz, The Nazi Conscience, p. 85 ISBN 0-674-01172-4
^ Waldman 2008, p. 193.

Works cited

Waldman, Harry (2008). Nazi Films In America, 1933-1942. McFarland & Company. ISBN 9780786438617.
Welch, David (1983). Propaganda and the German Cinema: 1933-1945. I.B. Tauris. ISBN 9781860645204.

External links

Hans Westmar at IMDb
Hans Westmar. Einer von vielen. Ein deutsches Schicksal aus dem Jahre 1929 is available for free viewing and download at the Internet Archive
Hans Westmar. Einer von vielen. Ein deutsches Schicksal aus dem Jahre 1929 at AllMovie

[FOOTNOTEWelch198361–62-1] Welch 1983, pp. 61–62.

[2] Erwin Leiser, Nazi Cinema p24 ISBN 0-02-570230-0

[3] Richard Overy, The Dictators: Hitler's Germany, Stalin's Russia, p462 ISBN 0-393-02030-4

[FOOTNOTEWaldman2008193–194-4] Waldman 2008, pp. 193–194.

[FOOTNOTEWelch198362-5] Welch 1983, pp. 62.

[FOOTNOTEWelch198340-6] Welch 1983, pp. 40.

[FOOTNOTEWelch198362–63-7] Welch 1983, pp. 62–63.

[8] Alfred Bauer: Deutscher Spielfilm Almanach 1929–1950. New edition 1976, p. 190. Original in German: "weder der Gestalt Horst Wessels noch der nat. soz. Bewegung als der Trägerin des Staates gerecht"

[9] Erwin Leiser: „Deutschland, erwache!“ Propaganda im Film des Dritten Reiches. Rowohlt, Reinbek bei Hamburg 1968, p. 30. Original in German: Wir Nationalsozialisten legen an sich keinen gesteigerten Wert darauf, daß unsere SA über die Bühne oder über die Leinwand marschiert. Ihr Gebiet ist die Straße. Wenn aber jemand an die Lösung nationalsozialistischer Probleme auf künstlerischem Gebiet herangeht, dann muß er sich darüber klar sein, daß auch in diesem Falle Kunst nicht von Wollen, sondern von Können herkommt. Auch eine ostentativ zur Schau getragene nationalsozialistische Gesinnung ersetzt noch lange nicht den Mangel an wahrer Kunst. Die nationalsozialistische Regierung hat niemals verlangt, daß SA-Filme gedreht werden. Im Gegenteil: sie sieht sogar in ihrem Übermaß eine Gefahr. […] Der Nationalsozialismus bedeutet unter gar keinen Umständen einen Freibrief für künstlerisches Versagen. Im Gegenteil, je größer die Idee, die zur Gestaltung kommt, desto höhere künstlerische Ansprüche müssen daran gestellt werden."

[FOOTNOTEWelch198363-10] Welch 1983, pp. 63.

[11] Robert Edwin Hertzstein, The War That Hitler Won p 262 ISBN 0-399-11845-4

[12] Claudia Koonz, The Nazi Conscience, p. 85 ISBN 0-674-01172-4

[FOOTNOTEWaldman2008193-13] Waldman 2008, p. 193.

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]