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Veit HarlanThe Life and Work of a Nazi Filmmaker$
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Veit Harlan: The Life and Work of a Nazi Filmmaker

Frank Noack

Print publication date: 2016

Print ISBN-13: 9780813167008

Published to Kentucky Scholarship Online: September 2016

DOI: 10.5810/kentucky/9780813167008.001.0001

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PRINTED FROM KENTUCKY SCHOLARSHIP ONLINE (www.kentucky.universitypressscholarship.com). (c) Copyright The University Press of Kentucky, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in KSO for personal use.date: 22 September 2021

Blood and Soil

Blood and Soil

Chapter:
(p.193) 15 Blood and Soil
Source:
Veit Harlan
Author(s):

Frank Noack

Publisher:
University Press of Kentucky
DOI:10.5810/kentucky/9780813167008.003.0016

This chapter deals with Harlan’s debut as producer-director in late 1941. After canceling his contract with Tobis, his home studio since 1937, he gets a production unit of his own at UFA and starts work on Die goldene Stadt (The golden city), Germany’s second film in Agfacolor. While his Prussian epic Der grosse König is finally released, after heavy cuts and reshoots, half a dozen of Harlan’s former colleagues as well as theater critics who had spotted his talent early on are among the first Holocaust victims, and his Jewish first wife, Dora Gerson, has to go underground. Die goldene Stadt, released at the Venice Film Festival in 1942, becomes a sensational commercial success throughout Europe, helped by the fact that in Nazi-occupied areas audiences have no access to Hollywood’s Technicolor films. In his diaries, Joseph Goebbels explicitly links his monopoly on color stock to the Wehrmacht’s military successes.

Keywords:   Agfacolor, canceling contract, early Holocaust victims, going underground, monopoly on color stock, producer-director, Technicolor, UFA, Die goldene Stadt

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