BACKGROUND: "Titanic" was a pet project of Nazi Germany's evil propaganda minister, Dr. Goebbels. In the true story of the 15 April 1912 tragedy in which 1,503 people lost their lives, Goebbels saw a grand opportunity to denounce British opportunism, stupidity and greed. Goebbels had the script written by a fanatical Nazi, Zerlett- Olfenius. Direction was entrusted to Herbert Selpin who had successfully handled movie versions of other maritime disasters, despite the fact that Goebbels was well aware that Selpin had little love for the Nazi regime. However, Zerlett-Olfenius was entrusted with shooting the second unit work on location in the port of Gdynia in Poland. In May 1942, whilst Selpin shot the interiors in Berlin, Zerlett-Olfenius was detailed to direct the matching exteriors in Gdynia. When no footage at all arrived from Gdynia, the frustrated Selpin journeyed to that port to investigate. He confronted Zerlett- Olfenius and the two men had a bitter quarrel during which Selpin made many insulting references to the German armed forces. Zerlett- Olfenius reported Selpin to the Gestapo. Selpin was arrested and thrown into jail on a charge of treason. Unwilling to delay shooting and bring the matter to trial, the evil Goebbels ordered the prison guards to murder Selpin in his cell on the night of 31 July 1942. The propaganda minister then gave out that the treasonable Selpin had admitted his guilt by committing suicide. Werner Klinger was contracted to complete the film.
However, Selpin had the last laugh after all. When Goebbels viewed the completed picture, he had enough wit to realize that its propaganda effects would be the exact opposite of what he and Zerlett-Olfenius had intended. Not only were the scenes of panic among the passengers uncomfortably akin to the contemporary reactions of German civilians under Allied bombing raids, but the instigator of the whole tragedy, Ismay, was shown to be a corrupt, self-seeking leader, reckless of people's lives in his own lust for power, money and "glory". A Hitler figure, in other words. "Titanic" was shown in Paris (in order to recoup at least part of its enormous cost), but in Germany it was not released at all until 1950.
COMMENT:There are a number of movies dealing with the Titanic tragedy, but for sheer entertainment zing and gusto, this version is hard to beat. Not only are special effects absolutely marvelous and the scenes of shipboard panic and mayhem absolutely riveting, but the sets are superb, the costumes startling, and the acting dazzlingly charismatic. Nielsen hugs audience sympathy as the harassed Petersen, Miss Schmitz (despite a long dark wig that is a trifle disconcerting) transforms realistically from riches-into- rescuer, while the stunningly-gowned Heiberg limns the most decorative of high-class vamps and the evil-visaged Wernicke makes a human figure of the luckless Captain Smith. And a special clap to Jolly Marée who performs the sexiest dance number by which all others will now be measured.
Selpin's driving, pacey direction, boosted by Behn-Grund's splendid camera-work nails home every hideously fascinating detail of this most terrible of maritime tragedies.
However, Selpin had the last laugh after all. When Goebbels viewed the completed picture, he had enough wit to realize that its propaganda effects would be the exact opposite of what he and Zerlett-Olfenius had intended. Not only were the scenes of panic among the passengers uncomfortably akin to the contemporary reactions of German civilians under Allied bombing raids, but the instigator of the whole tragedy, Ismay, was shown to be a corrupt, self-seeking leader, reckless of people's lives in his own lust for power, money and "glory". A Hitler figure, in other words. "Titanic" was shown in Paris (in order to recoup at least part of its enormous cost), but in Germany it was not released at all until 1950.
COMMENT:There are a number of movies dealing with the Titanic tragedy, but for sheer entertainment zing and gusto, this version is hard to beat. Not only are special effects absolutely marvelous and the scenes of shipboard panic and mayhem absolutely riveting, but the sets are superb, the costumes startling, and the acting dazzlingly charismatic. Nielsen hugs audience sympathy as the harassed Petersen, Miss Schmitz (despite a long dark wig that is a trifle disconcerting) transforms realistically from riches-into- rescuer, while the stunningly-gowned Heiberg limns the most decorative of high-class vamps and the evil-visaged Wernicke makes a human figure of the luckless Captain Smith. And a special clap to Jolly Marée who performs the sexiest dance number by which all others will now be measured.
Selpin's driving, pacey direction, boosted by Behn-Grund's splendid camera-work nails home every hideously fascinating detail of this most terrible of maritime tragedies.