Word: ufa
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Dates: during 1930-1939
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...Jack Mylong Muenz, Yiddish Clark Gable of pre-Nazi Germany, leading man in one of Greta Garbo's first starring films (UFA's Streets of Sorrow), lately guide in the New York World's Fair Palestine Pavilion, sought passage to Palestine where he will join the Jewish Legion. An eye-witness to Hitler's 1923 beer-hall Putsch, Actor Muenz gibed: "I was in the street when the machine guns began to fire. Immediately Hitler was down on his face. His General, Franz Ritter von Epp, got disgusted and shouted: 'What's the matter...
...pioneer Skladanowsky (Reichsflilmkammer) 1909 Don Juan's Wedding, a comedy with the actor Giampietro (Reichsflilmkammer) 1912 Misunderstood, a melodrama with Germany's most popular actress, Henry Porten (Reichsflilmkammer) 1920 The Golem: one sequence only. Directed by the eminent actor Paul Wegener, who also plays the title role (Ufa) 1919 The Cabinet of Dr. Caligari, directed by Robert Wieni. Most celebrated of foreign films, it has seldom been shown in its entirety (Ufa...
...Adolf Hitler. Publisher Hugenberg was wiser. Even before Adolf Hitler became Chancellor, Alfred Hugenberg prudently dissolved his own party, loudly and publicly joined the Nazis. Herr Hitler was grateful, for a while, but last week Alfred Hugenberg was forced to resign from his last important job: director of UFA, Germany's largest motion picture company...
Tobis, only other important German producing company, has already been completely Nazified with paunchy Emil Jannings as one of its actor-directors. The gobbling of UFA not only gave the Goebbels office a hold on Germany's cinema industry as strong as that it already has over the press; it gave Goebbels virtual ownership. In March, even before the switch in directors, an anonymous group bought control of UFA from the Hugenberg group. Berlin film men insisted last week that the real owner of UFA and Tobis is the Franz Eher Publishing Co., which in turn publishes the Nazi...
Nazi dissatisfaction with the old UFA management stemmed directly from the fact that the average German still has an unconverted preference for U. S. films. The company made a little money last year, but not enough to pay a dividend, nor were its propaganda films at all successful abroad. Stormed Dr. Goebbels: "Our films are too commercial, they must be more artistic. . . .* The German film has reached the point where it must fulfill its duty to the state, nation and culture. It must exercise international influence, it must become a spiritual world power...