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"I always dreamed of, where to look you, die on your feet a day in the sun to shine" . writes the last sentence Fernand Zelnikov, employee Parisian fur Russian Jewish origin, who participated in several attacks against German soldiers.

This phrase is taken from this article in "The Country" which itself speaks of a book compilation of letters written by people who were executed during World War II World.

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For the cats like mice and rats, it seems like wine. I like cats and wine. Mice not have ever tasted. I
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The fact is that this illustration is intended to be a wine label and respond to the initiative of Festival BD Angers, where we will be in December if all goes well.
To see other labels much more funky, here and here you have the contributions of other distinguished guests. And if you curosidad and want to see the other years, here's another link . Greetings

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Elie Wiesel (2008) CHILDREN OF THE LORD

Source: Norway, Denmark, Germany. Length: 118 min.
Color. Languages: Norwegian, English, German.
subtitled Filmed in Sweden and Scotland

CREDITS Director: Joachim Ronning, Espen Sandberg
Writer: Thomas Tiller
Nordseth-Production: Marcus Brodersen, Syeinung Golimo, John M. Jacobsen
Music: Trond Bjerknes
Photo: Geir Hartly Andreassen
Edition: Anders Refn
Casting: Kannecke bervel, Suse Marquardt
Diseño de producción: Karl Juliusson
Vestuario: Manon Rasmussen
Maquillaje: Ana Oria
Sonido: Marius Bemtzen
Efectos Especial: Hummer Hoimark
Efectos visuals: Martin Andersson
Protagonist
Aksel Hennie (Max Manus)
Nicolai Cleve Broch (Gregers Gram)
Agnes Kittelsen (Ida Nikoline Lindebraekke)
Knut Joner (Gunnar Sønsteby)
Christian Rubeck (Kolbein Lauring)
Ken canvas (Siegfried Fehmer)
Mats Eldgen (Edward Tallksen) Viktoria Winge
(Solveig Johnsrud )
Pal Sverre Valheim Hagen (Roy Nilsen)
Kyre Haugen Sydness (Jens Christian Hauge)
COMMENT
The film takes us to the days of World War II through one of the most significant heroes Norwegians, who like others of his companions, he risked his life to fight Nazi Germany. Much of it was shot on original locations where the events took place, and some parts of the film have been recorded in Sweden and Scotland, where he develops the plot. Norway was one of the countries that fell under the Nazi yoke at the beginning of the Second World War and this unique resource has spared no efforts to glorify the life of Max Manus. Two thousand people have worked behind the scenes in their construction and another 1,800 have participated as extras. The film, which has a pretty classic style, has tried to recreate a very realistic facts and scenarios so that viewers can relive Norwegian invasion credible than its territory and its capital was the Nazi army. The filming has included stories such as the Norwegians again see Nazi swastikas waving in the Royal Palace or Parliament, has recreated the port of Oslo, recreated the sinking of ships, bombings or the Gestapo headquarters in Victoria Terrance. This work has been determining the use of many special effects and digital recreation.

Based on the book written by Max himself Manus after the war, along with historical sources and the advice of historians and members of the museum dedicated to his memory, the film stays true to her story to the reality of the facts although varying some of the same for the sake of drama. Manus was one of the most famous saboteurs in World War II, awarded the highest military decoration Norwegian War Cross with swords and the British Military Cross. In the movie you see with the rest of actors perpetrate their attacks in central Oslo, or used in what in what became an expert, sinking enemy ships, as well as sabotage warplanes and other military targets, while being supplied by the Allies. His fame became such that he became one of the men most wanted by the Gestapo (in the movie the main objective of the commander of the Gestapo Fehmida Wolfgang Siegfried) and collaborationist police in Norway ruled that a puppet and a traitor , the leader of the Nazi party (National Unity), Vidkun Quisling. The exploits of Max Manus held served as revenge for the whole population sometida.Convertido into real social event, in its premiere in the capital attended by the King Harald V, his widow Tikka Manus, and Gunnar Sønsteby, one of the saboteurs still still alive at 90 years, member of Manus.
Max Manus (1914-Spain Norway 1996) spent his childhood and youth with his father in Cuba and the Andean region, what would cope quite well in the language español.Antes that his country was occupied by the Germans, fought as a volunteer with the Finns against the Soviet Union, the so-called Winter War between the two countries, which took place between 1939 and 1940. At 25 he returned home the same day it was invaded by Hitler's troops (April 9, 1940), then go on to join the resistance. Among its activities, in addition to making anti-Nazi propaganda, is preparing an attack that nearly put an end to the lives of Himler and Goebbels when they visited Oslo. He was arrested by the Gestapo, suffering various injuries in 1941 but his determination led him to escape from the hospital where he was taken, fleeing through Russia to South Africa and from there to the United States after seven months of travel.

in Canada first and then trained as a saboteur Scotland, becoming a member of the First Independent Company Norway. After preparation was parachuted near Oslo with his friend and began Gram Gergers a dangerous and risky work they would have died many of his peers. As stated in some scenes recreated in the film, specifically specializing in the sabotage of boats, using limpet mines that would cause serious damage to the German Navy, including most notably the sinking of the boats used to transport troops and prisoners or SS Monte Rosa the Donay. In Stockholm, a meeting of members of the resistance, known to Tikka, which would eventually become his wife, then contact the British consulate Norwegian, who otherwise praised the degree of authenticity of the tape now almost 60 years later, contains the former deeds of her husband.

Authentic Hero Norwegian war at the end of the race had the honor of accompanying the King Haakon VII in his triumphal entry into Oslo to return from exile in Britain. Their participation in the Winter War against the Communists is a fact that little is known because of its unwillingness to remember, but what I said is that he had caused severe traumas and nightmares later in life. After the war he devoted himself to successfully market office products such as Olivetti typewriters, but over time ended up taking refuge in drink, a victim of the psychological wounds that had caused the war and the loss of so many friends. Spent his last years in Spain until his death in 1996. There has been some controversy among historians on how it has dealt with the importance given to sabotage during the war or Manux participation in the Winter War. Al film was also charged, as is the case Adresseavisen newspaper or to establish any kind of moral debate, resulting in all black and white, divided between good and bad.

(Based on information from www.unmundodecine.com)

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Batignolles (2002)

Original title: Monsieur Batignole
Origin: France. Duration: 100 min.
Color. Languages: French, German. CREDITS
Subtitulado
Address: Gerald Jugnot
Writer: Gerald Jugnot, Philippe Lopes-Curval
Porducción: Dominique Farrugia, Olivier Granier, Gerard Jugnot
Music: Khalil Chahine
Photo: Gerard Simon
Edition: Catherine Kelber
Casting Sandra Nainguené, Francoise Menidrey
Costume: Martine Rapin, Annie Thellement
Makeup: Rachel Aboulkheir, Marie Luiset
Sound: Michel Kharat
ACTORS
Jules Sitruk (Simon Bernstein)
Gerard Jugnot (Edmond Batignole)
Michele Garcia (Marguerite Batignole)
Jean-Paul Rouve (Jean-Pierre Lamour)
Alexia Portal (Micheline Batignole)
Violette Blanckaert (Sarah Cohen)
Baiwir Daphne (Gila Cohen)
Götz Burger (SS. Colonel Spreich)
Nadine Spinoza (Rachel Bernstein) Damien
Jouillerot (Martin)
Sam Karman (Max Bernstein)
COMMENT
Jugnot addresses a tender story that unfolds in one of the darkest and most dramatic periods in French history: in 1942, the occupied France, the apolitical Edmond Batignole butcher lives with his wife and daughter in a small apartment on the top of their trade. When his future son and collaborator, Jean Pierre, called the Nazis to arrest Bernstein Jewish family, moved to the department confiscated. Some days later, the young Simon Bernstein escaped the Germans and returns to his old home. When Batignole find it, feel sorry for the child and hides him from her son and even his wife. Then, two cousins \u200b\u200bSimon find him in the hideout in the basement of the trade. When found by Jean Pierre, Batignole decides to escape with the children to Switzerland.
is a simple movie, nice to see, with stunning photography, mild emotional and strong performances. The fact that the film try to avoid the harshness of time that serves as the background, very well recreated in her aspect of manners, not mean we can not work
to see it closer to how humans can behave in situations where you swim against the tide (going against the occupiers) is a dangerous path and where it becomes important only ideology, survive , however unworthily.

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FLAME AND CITRON (2008)

Original title: Flammen & Citronen
Origin: Germany, Denmark, Czech Republic. Length: 130 min.
Color. Languages: Danish, German.
subtitled Filmed in Berlin, Copenhagen and Prague

CREDITS Director: Ole Christian Madsen
Guion: Lars Nader, Ole Christian Madsen
Producción: Lars Bredo Rahbek, Christoph pussys, Stefan Schubert
Música original: Karsten Fundal
Fotografía: Jorgemn Johansson
Ediciones: Soren B. Ebbe
Dirección Artistica: John Lockman, Anja Müller, Soren Schwartzenberg
Vestuario: Manon Rasmunssen, Margrehte Rasmussen, Rikke Simonsen
Maquillaje: John Bartram, Ivana Chlostova,
Sabine Schumann, Bobo Sobotka
sonido: Hans Moller
efectos especiales: Spreen Forest Haraldsted, Bemd Wildau
efectos Visual: Nastuh Abootalebi, Jonas Drehn
PROTAGONISTAS
Thure Lindhardt (Flame)
Mads Mikkelsen (Citron)
Stine Stengade (Ketty Selmer)
Peter Mygind (Aksel Winter)
Mille Lehfeldt (Bodil)
Christian Berkel (Hoffman)
Hanns Zischler (Gilbert)
COMENTARIOS
1.
Flame y Citron fueron dos de los más famosos miembros de la resistencia danesa durante la ocupación nazi. Esta película recrea la vida de estos hombres, que decidieron luchar desde la clandestinidad contra los alemanes y contra los daneses que colaboraban con ellos. Las cosas comenzaron a ser diferentes cuando empezaron a plantearse si matar o no a las personas que se les había ordenado, al vislumbrar que sus acciones se enmarcaban en una trama más compleja, que en ocasiones era opuesta a sus desire to end the Nazi enemy.
The film is a story of love, betrayal, hate and power. Flame and Citron are an effective partner, where the former has come to become the most wanted murderer Denmark. It is cold and calculating, and no hesitation to pull the trigger. The major flaw of the film is slow, because it is a film accipon. When Flame is about to commit a murder, he does not rush and effectively. At this rate fits the tempo of the film, and this is the default. Their murders are like a ritual that may not end for being slow to call the attention of the viewer. Another problem is that the audience can not empathize with Flame and Citron. No fall neither good nor bad. Although they try to print features that humanize "the family for Citron, the girl Kitty in the Flame" is not enough for the viewer to connect to one hundred percent to the cause of the couple. Citron passed the first part of the tape sweating-a detail very carefully, no doubt, given the tension and hardness that carries the kind of life they have chosen, but that ends up being something unpleasant in the eyes of the beholder. And while non-stop sweating Citron, Flame is like an iceberg. With some players developed in a distant reality to the viewer and with a pace so slow, it can be difficult to fully appreciate the dramatic content of the story: the hardness of betrayal, impotence of knowing a pawn in the hands of another, the inability to fight the great international war machine. This passes through the retina of the viewer almost without emotion.
The highlight of the film is a recreation of the time, a job that notice has been made with care. In terms of content, you have to take a break in the conversation that keeps his victim Flame Colonel Gilbert, who opens our eyes to the harsh reality of war where everything is not black or white.
2.
Inspired by true events, this film focuses on the lives of two men and Citronen Flammen, members of the Danish resistance during World War II. In a world where intrigue, lies, violence, feelings and personal background of each live together every day, both his own morality and their goals are challenged and confused. In addition to being pursued by the Gestapo, his ideals and justification for your actions of the two protagonists will be threatened by the twin agendas and distrust of his own allies. This film has great virtues. Visually it is superb. The atmosphere manages to recreate and capture all the atmosphere of the 40 thanks to a great photograph. The performances, especially that of the two main characters are the same level. The script itself is complex, ambiguous and perfectly conveys the bewilderment and confusion both emotional as confidence in their own men who live both protagonists. But being a film that focuses on the study of these two characters, the film seems more interested in showing their very accomplished visual part exterior to delve into the core of both figures. The attempt to explain and deepen them is disjointed and short of length on the narrative pace and the action that has the movie. "Flammen & Citron" manages to present the best way an interesting story but too influenced by Hollywood films, sacrificing substance for form.
3.
"In reality, Flame, a likable but phlegmatic, was obsessed with firearms from an early age. He grew up in Asserbo, north of Copenhagen, where his father ran a hotel. He had a complicated relationship with his father, who despised by the sympathy he felt towards the Germans, whose authority is folded. When his father sent him to Germany for an internship as a waiter, he developed a deep hatred for fascism. On his return to Denmark, he enlisted in the Navy and learned to shoot (shooter of the year was 1941). Very young, aged 19, joined the resistance
Citron, ten years older, was completely different. His father died when he was young and his mother had to keep house and raise four children with his pension widow, so I grew up poor but dignified. Citron always had problems with authority and even his own family was considered a loser. He was fascinated by the bohemian lifestyle and for some years worked as a scene of a Jewish vaudeville. There he met Bodil, much younger than him. She got pregnant right away, but it cost Citron established. Despite being a member of the resistance of older and acted in the street (which was reserved for the younger, without family commitments). "

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PARTNER (2004)

Original title: The Aryan Couple
Origin: United States, G. Britain. Length: 120 min.
Color. Language: English.
subtitled Filmed in Warsaw, Poland

CREDITS Director: John Daly
Writer: John Daly, Kendrew Lascelles
Production: John Daly, Peter Anurov, Vasily Balashov, Irina Szufarska
Music: Igor Khoroshev
Photo: Sergei Kozlov
Edition: Mathew Booth
Casting: Liora Reich
production designer Andrezj
Halinski Art Director: Joanna Doroskiewicz
Sets: Wieslawa Chjkowska
Costume Jagna Janicka
Makeup: Anna Dabrowska
Sound. Francois Blaignan, John Chalfant, Frank Correa
Special Effects: Arkadiusz Rosczak. Zawiasa Zdszlaw
Visual Effects: Tim Baxter
ACTORS
Martin Landau (Joseph Krauzenberg)
Judy Parfait (Rachel Krauzenberg) Kenny
Doghty (Hans Vassman)
Caroline Carver (Ingrid Vassman)
Danny Webb (Himmler) Chrstioher
Fulford (Edelhein)
Steven Mackintosh (Eichmann)
Jake Wood (Dressler)
Nolan Hennings (Gerhard)
Austen Palmer (Kurt Becher)
COMMENT
fiction about an episode that may have occurred in 1944 in occupied Hungary, where the film is developed, probably near the town of Gyor. Josef Krauzenberg agrees to transfer his financial empire and industrial personal property, including a vast collection of paintings, to Heinrich Himmler. In return, promises Krauzenberg Himmler and his 30 family members and relatives, including his wife Rachel, safe conduct to Switzerland, as the first station of his trip to Palestine., Despite the objections of Adolf Eichmann, the author of the Final Solution.
However, Krauzenberg has three thousand employees at their companies and two servants on their property in the field. These, Ingrid and Hans, are go through a couple aria, but in reality are Jews who are working for the Resistance.
What should you do with them Krauzenberg when the property is unoccupied? This is the central point of the film, they begin to see images Auchwitz, a train carrying Jews to death camp ...
Minutes before the departure of the Krauzenberg plane to Switzerland, Vassman reveal that they are Jews, named Steinberg. Ingridd asked to be carried on the flight, but the arrangement is not possible. As Himmler agreed not affect any of the employees of Krauzenberg, Josef tries to get tickets on the train to Switzerland for the next day. Meanwhile, an aide to Eichmann, Edelhein, Ingrid took an interest in and knowledge that they are Jews, trying to stop his departure to Switzerland. Himmler
The idea has been so generous to the Jews, is based on the existence of a plan called Europe, which Slovak Jews paid large sums of money to obtain permits to Switzerland or elsewhere outside the scope of the fields.
The film, which flows like a play., Is veiled based industrial destination judeohúngaro Manfred Weiss.

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Eichmann (2007)

Original title: Eichmann
Origin: Great Britain Hungary. Length: 100 min.
Color. Language: English.
subtitled Filmed in Budapest, Hungary

CREDITS Director: Robert Young
Writer: Snoo Wilson
Production: Karl Richards
Original Music: Richard Harvey
Photo: Michael Connor
Edition:
Saska Simpson Production Designer: Tibor Lazar
Art Direction: Ino Bonello, Judit Csak
Sets: Zoltan Schofer
Costume Makeup
Alyson Ritchie: Uli de la Lama
Sound: Antonia Bates
Special Effects: Robert Kovacs
Visual Effects: Jonathan Cheetham ACTORS

Thomas Kretschmann (Adolf Eichmann)
Troy Garity (Avner Less)
Franka Potente (Vera Less)
Stephen Fry (Minister Tormo)
Peter Ambrus (Abraham Less)
Laszlo Bereczki (David)
Bamath Denes ( Benjamin)
Festbaum Bela (Dr. Kastner)
Stephen Grief (Hans Lipman)
Hefle Bernadett (Sara)
Laczo Peter (Dieter Eichmann) Abdul Sattar
Rehani (Husseini)
Srbova Tereza (Baroness Ingrid von Ihama) Kristian
Voros ( Klaus Eichmann)
Scott Alexander Young (Robert Servatius)
COMMENTS
Captured in Argentina fifteen years after completion of war, and brought to trial in Israel, Adolf Eichmann recounts his past as the architect of the Final Solution plan of the Jewish question, namely, the extermination, with his interrogator, Captain Avner Less police. On the basis of these documents has been made this movie.
This docudrama is built in an unusual way. In its first half hour seems to use the Holocaust as an excuse to concentrate around the sex lives of several flashbacks portray Eichmann and his encounters with three women: his wife and two lovers. But on the other hand, these scenes are vital as part of a strategy to show the coldness and callousness of the character, the knowledge necessary to approach their acts and conduct as a director of the Nazi genocidal policies. Although historically remembered as an important link in the chain of destruction, the film is presented as a simple colonel who defends the charges, saying it was simply a transport official. Other officers, senior, was ordered to create an efficient rail communications system that would link different places, without pausing ruthlessly as rolling stock and traction needed, schedules and anything that would allow the effective operation of the system under German administration.
The film tries to condemn Eichmann showing its contempt for life, particularly Jewish and that this contempt is a pattern in the behavior of Eichmann, being their sexual liaisons' part of this pattern. Two examples:
- Abandoning his first lover in Austria without warning, even though he knew in advance dairy transferred. Uan lived with her farm had been expropriated by the state for personal use. A car is waiting one morning, when he tells women to be and then all Slavic workers are shot. The woman is alone and asks what will happen now with all animals. His short answer was "shoot them" ...
- in Hungary is linked to a baroness, thirsty bleeding, which is sexually aroused Eichmann listening to a count of their responsibility for several mass killings and its role in ethnic cleansing in various countries. Talk about these brutal crimes in their meetings. Not sure this has happened, but if it was real, it speaks for itself cruel and sadistic nature of our character.
Surely some will feel shocked by the sex scenes, but the combination with the dramatized flashbacks, archival images, the Transcription of interviews, build a Eichmann deserved the death sentence he received. In estesentido, the film is effective but fails at times related to the themes of Israel from 1960-1962.
Avner Less's portrait is displayed with some concerns and is focused as losing the thread of police work being done. Play with your children, the wife has a poor health status, but that does not matter. The story revolves around Eichmann, not his interrogator. The central problem is the back story, where the script seems to have been written for the actors (Fry and Potente) with purely commercial objectives. Both units could have been completely eliminated, so that nothing important is lost in the film. So the movie is much more effective when it focuses on the figure of Eichmann, his personal history and interrogations, the secondary issues.

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Hangmen Also Die (1943)

Original title: Hangmen Also Die!
Origin: United States. Length: 134 min.
White and black. Languages. English, German.
subtitled Oscar Nominated 1944 Best Original Score (Hans Eisler)
CREDITS
Address: Fritz lamgen
Screenplay: John Wexley on a text by Bertolt Brecht and Fritz Lang
Production: Fritz Lang, Arnold Pressburger
original music Hans Eisler
Photo: James Wong Howe
Edition: Gener
Fowler Jr. Art Direction: William
Darling Makeup: Blagoe Stephanoff
Sound: Fred Lau
Costumes: Eleanor Behm
ACTORS Hans Heinrich von Twardowski
(Reinhard Heydrich)
Brian Donlevy (Dr. Ftanticek Svoboda)
Walter Brennan (Professor Stephan Novotny)
Anna Lee ( Mascha Novotny)
Nana Bryant (Hellie Novotny)
Margaret Wychely (Ludmilla Novotny)
William Roy (Beda Novotny)
Dennis O'Keefe (Jan Horak)
Gene Lockhart (Emil Czako)
Selwart Tonio (Kurt Haas)
Alexander Granacher (Inspector Gruber)
Reinhold Schunzel (inspector Ritter)
Ludwig Donath (Schirmer)
Sarah Padden (Mrs. Dvorak)
Jonathan Hale (Dedic)
Byron Foulger (Bartos)
Edmund MacDonald (Dr. Pill)
Lionel Stander (Banya)
Lester Sharpe (Rudy)
Arthur Loft (General Votruba)
George Irving (Necval)
James Bysh (Pescaczek)
Fred Eissler (Dr . Kesselbach)
COMMENTS
The script for this film was the only direct involvement of Bertolt Brecht, whose stories and plays were the basis for numerous other films, in a job in Hollywood. The gui'pon was his, although in the credits included the American screenwriter and Writers Guild member John Wexley.
The film is considered a work framed in the "black film", but actually is a propaganda film defending the resistance, by any means, in Nazi-occupied Europe during World War II. The story focuses on the concealment of who was the murderer of Reinhard Heydrich, the Protector of Bohemia and Moravia, that is, the ruler of Czechoslovakia and the position of the Czech resistance to the retaliation unleashed by the conqueror. Heydrich was called by the Czechs "The Executioner", by the cruel actions and policies adopted during the occupation. The film does not reflect ele historical fact in itself, except for white which focuses the Resistance and then unleashed vicious reprisals.
The murderer is a doctor named Svoboda (In Czech "freedom"), which integrates a cell of the Resistance in Prague, which is engaged in sabotaging the work in industrial plants supplying goods to Germany.
Czechs are firmly united in resistance to the brutal oppressor and to the pursuit of the murderer by the Gestapo is facing a serious dilemma: delivery or let the Nazis kill the hostages they have taken to pressure to surrender to responsible for the death of Heydrich. Resistance members discuss and decide not to surrender Svoboda. But they are betrayed by a collaborator infiltrate, which manages to decimate the cell. Those who manage to escape, they prepare a trap for the traitor and eventually manage to stop the killing the hostages who have been living.
Following the style of police films, "Hangmen Also Die" is approaching this kind of cinema, but the excuse is to show the heroic resistance of the Czechs ce so important to be seen in theaters in 1943, full wartime and commitment in the fight for the values \u200b\u200bthat the Allies represented, mentioned repeatedly throughout the film.

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MARGIN OF ERROR (1943)

Original title: Margin for error
Origin: United States. Length: 75 min.
White and black. Language: English. Subtitled
CREDITS
Address: Otto Preminger Screenplay
: Lillie Hayward, on a play by Clare Booth
Production: Ralph Dietrich
orignal music: Leigh Harline
Photo: Edward Cronjager
Edition: Loeffen
Louis Art Direction: Lewis Creber, Richard Day
Sets: Thomas Little, Al Orenbach
Sound: Eugene Grossman, Harry Leonard Garment
: Earl Luck
ACTORS
Joan Bennett (Sophia Baumer)
Otto Preminger (Karl Baumer)
Milton Berle (Wed Finkelstein)
Carl Esmond (Baron Max with
Alvenstor Howard Freeman (Otto Horst)
Poldi (Frieda)
Clyde Fillmore (Dr. Jennings) COMMENT

Moe Finkelstein The New York police called on to guard the German consul Baumer, but neither is too happy for the task: the cop is a Jew and the consul-Semitic. However, Moe quickly becomes a friend of the consul's wife, Sophie, who married in the interests of preserving your family and ensure that it was sent to a concentration camp, the secretary of the consulate, Baron Max von Alvenstor and of a young service personnel, Freida. The environment is perceived an atmosphere of tension that is not hidden to the possible outbreak of war. Baumer, a lover of the game, has lost a large sum belonging the German government. Sophie hated her husband and what he represents, Max still loves her. Max Baumer faces with the difference of the funds of the consulate, while Baumer inetnta Berlpín inform that one of Max's grandparents was not Aryan. The arrival of a group of Nazi saboteurs and their insistence that they be given money to finance their activities threaten the position Baumer. .
Preminger, in the role of Baumer, the film transforms into a kind of absurd comedy.

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BE OR NOT TO BE (1942)

Original title: To Be or Not To Be
Origin: United States. Duration: 99 min.
White and black. Languages: English, German.
subtitled Oscar Nominated 1943 Best original music

CREDITS Director: Ernst Lubitsch
Screenplay: Edwin Justus Mayer sobe a story by Melchior Lengyel
Producer: Ernst Lubitsch
orignal music: Werner R. Heyman
Photo: Rudolph Maté
Editing: Dorothy Spencer
Casting: Victor Sutker
production designer Vincent Korda
Makeup: Gordon Bau Sound
: Frank Maher
Special Effects: Lawrence Butler
Costumes: Irene
ACTORS
Carole Lombard (Maria Tura)
Jack Benny (Joseph Tura)
Robert Stcak (Teniene Sobinski)
Felix Bressant (Greenberg)
Lioner Atwill (Rawitch)
Stanley Ridges (Professor Siletsky)
Sig Ruman (Colonel Ehrhardt)
Tom Dugan (Bronski)
Charles Halton (Dobosh)
Victor Henry (Captain Schultz)
COMMENTS
the footsteps of a company of comedians in Warsaw in 1939 to make a presentation of Hamlet, while rehearsing his next work, a representation of Nazism, the first actor Joseph Tura and his wife , also an actress, Mary, visited by an admirer, a Polish airman, who will have to help them escape from the Nazis who are en su búsqueda.
Una comedia hilarante, donde Carole Lombard actúa por última vez antes de su trágica muerte en un accidente de aviación, encabezando la compañía teatral. Parte del ensayo de la nueva obra de la compañía es un retrato bufonesco de los nazis que ocupan Polonia, mientras intentan además de salvar al piloto polaco, interceptar a un espía alemán que puede transmitir información perjudicial para la Resistencia. El guión encadena personajes insólitos mas interesantes y secuencias en paso de comedia, que se enredan hasta dar lugar situaciones inesperadas, pero que se resuelven de la manera esperada.
Junto con Ninotchka, su sátira antisoviética, son las más famosas Lubitsch film, a Jewish emigrant from Nazi Germany, which is a work environment in the U.S.. Lubitsch also criticize the Nazis, also criticized any form of totalitarian regime that violated the rules of democracy and live ence.

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WHEN NIGHT COMES THE DEVIL (1957)

Original title: Nachts, wenn der Teufel kam
Origin. West Germany. Length: 105 min.
White and black. Language: German.
subtitled Filmed in Berlin

CREDITS Director: Robert Siodmak Screenplay
: Will Berthold, on an article Jorg Werner Ludecke
Production: Robert Siodmak, Claus Hardt
Music: Siegfried Franz
Photo: Georg Krause
Edition: Walter Noos
Production Designer: Gottfried Will, Roilf Zehetbauer
Artwork: Gottfried Will
Cestuario: Claudia Hahne Herberg
Makeup: Franz Giobel, Sophie Obermaier
Sound: Erwin Jennevein
ACTORS
Claus Holm (Commissioner Axel Lersten)
Annemarie Duning (Helga Homung)
Mario Adorf (Bruno Luebke) Hannes
Messem (Captain Rossdorf)
Carl Lange ( Major Thomas Wollenberg)
Werner Peters (Willi Keun)
Walter Janssen (Investigadorr Bohem)
Monika John (Waitress Lucy)
Schaffer Rose (Anna Hohmann)
COMMENT
The police film about serial murderers was a combination that occasionally occurred in the German cinema of the post World War II, trying to describe the terrible collective experience gained under the Nazis. In this, his first film shot in the back to Germany, Siodmak portrayed the cynicism of the authorities of the Third Reich to the real case of Bruno Luebke, a serial murderer who terrorized women in Hamburg during the war. For his arrest sparked a political propaganda campaign, which joined the Führer in person stating that the new Germany could not allow strolled through its streets are a quiet murderer, as if they were not so well.
The black and white photograph of Georg Kruse, true to the aesthetic tenets of the expressionist school, resulting in breathtaking sequences, in which individual violence is confused with institutional ominously.
While many American films in the serial murderer's portrait shows an evil being who kills for pleasure, this movie shows us a man who feels the need to do is not sick when they want, but when they do. But perhaps the best of the film are images of everyday life in the last year of the Third Reich, installed corruption, disillusionment with the reality and the failure of the promises made by the Fuhrer, despite the constant propaganda, but empty phrases. In the shadow of Nazi genocide, the ultimate question of whether the convicted innocent or guilty, is a secondary fact.

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Manhunt (1941)

Original title: Man hunt
Origin: United States. Length: 105 min.
White and black. Language: English, German. Subtitled

CREDITS Director: Fritz Lang
Screenplay: Dudley Nichols and Geoffrey Household on his novel "Rogue Male "
Producer: Kenneth Macgowan
Music: Alfred Newman
Photo: Arthur C.
Miller Edition: Allen McNeil
Art Direction: Richard Day
Sets: Thomas Little
Costumes: Travis Banton
Sound: Eugene Grossman

PLAYERS Walter Pidgeon (Captain Alan Thorndike)
Joan Bennett (Jerry Stokes)
George Sanders (Quive-Smith
John Carradine (Mr. Jones)
Roddy McDowall (Vaner)
Ludwig Stossel (Doctor)
Heather Thatcher (Lady Alice Risborough)
Frederick Worlock (Lord Gerald Risborough)
Roger Imhof (Captain Jensen)
COMMENT
is the first of several anti-Nazi movie content filmed by Fritz Lang in America. An English hunter, vacationing in Bavaria, Hitler sees through the scope of your gun is unloaded. But is captured and tortured by the Gestapo. After being questioned, is thrown off a cliff, but survives and escapes, returning to England, where it is hidden by a prostitute. Because the duration of the Hays Code - could not show prostitutes or sex scenes or anything that affected the moral sensibilities of the viewers of the day - in your room is a sewing machine - the woman is a seamstress, an occupation tolerated by the censors. In London, he is pursued by Nazi agents and finally decided to return to Germany to try in the future to kill Hitler.
Just come to Hollywood, Lang quickly adapted to the film industry. However, his films reflect a feeling pessimistic and hopeless. Lang understands that the decisions that a person may limit future possibilities. And this is what happens in this movie where the protagonist's future is predetermined from the start of operations from a completely ambiguous action. The hunter is not necessarily interested in killing Hitler. First game with the idea and points his gun discharged and then put a bullet fired into a room. This decision determines everything that continue in the course of the film: to perform the act that had previously imagined.

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THE GREY ZONE (2002)

Original title: The gray zone
Origin: United States. Length: 108 min.
Color. Languages: English, German.
subtitled Filmed in Bulgaria

CREDITS Director: Tim Blake Nelson
Screenwriter: Tim Blake Nelson, on his play and the book of Miklos Nyiszli (Auschwitz: a doctor's testimony)
Producer: Avi Lerner, Danny Lerner, Christine Vachon
Photo: Russell Lee Fine
Music: Jeff Danna. Claudio Abbado leads "Alto Rhapsody"
Edition: Michelle Botticelli, Tim Blake Nelson
Casting: Will Carter, David Vaccari, Bernard Ttelsey
production designer, Maria Durkovic
Artwork: Johnny Breedt, Tatiana Lund
Sets: Valentina Madenova
Costumes Marina Draghici
Makeup: Sofia Davidova, Ivon Ivanova, Claudia Moser
Sound: Chris Barnett
Special Effects: Willie Botha, Dikov Vasill
Visual Effects: Janos Pilenyi Ariel Enriquez Saulog
PLAYERS
David Arquette (Hoffman)
David Chandler (Rosenthal)
Alan Corduner (Dr. Miklos Nyisli)
Steve Buscemi (Hesch Abramovics)
Harvey Keitel (SS Oberscharfuhrer Eric Muhsfeldt)
Henry Stram /Josef Mengele)
Karmela Grigorova (Niña)
Mira Sorvino (Dina)
Natasha Lyonne (Rosa)
COMENTARIOS
En 1996 Blake Nelson llevó al teatro esta obra. Ya en el comienzo de la película, los títulos nos informan que los nazis no emplearon a alemanes para conducir a los judíos a las cámaras de gas y luego llevar sus cadáveres a los crematorios, en el campo de Birkenau. Emplearon a judíos, en grupos llamados Sonderkommandos, a quienes were allowed to eat sensibly and live in the country in better shape than other prisoners. But after a few months, they too were executed. The story was later told by Dr. Miklos Nyisli, a highly trained Jewish physician, who in turn to stay alive, he volunteered for medical experiments by Dr. Mengele. Simultaneously, we see the arrival of a convoy of Hungarian Jews. With almost surreal accompaniment of Jewish musicians playing Strauss waltzes are taken to the gas chambers. On arrival should hang their clothes on hangers numbered before entering the chambers to take a shower and be disinfected. Then the door is closed. The next task is to select the clothes and other possessions of the exterminated by the Germans or the Jews. After execution, the Jews of komanndo loaded the bodies to the ovens and the chamber is cleaned, ready for a new human cargo. Meanwhile, women from a nearby munitions factory, smuggled gunpowder for Jewish prisoners at Birkenau, which are preparing a revolt. When the Nazis discover that the powder has disappeared, tortured some workers to obtain information about who received. The guards are killed one by one to the women in the barracks while the strong hope that their turn and His death put an end to the other deaths. The revolt is given in two crematoria, some Nazis killed, participants in the revolt were shot, but the crematoria are not rebuilt. The Russians are going. Meanwhile, progress in Poland, going to Auschwitz.
The commander of Birkenau, Muhsfeldt, alos try to control prisoners psychologically. But the deeper question that makes them, is why a simple Jew agrees to perform this task in the kommando to prolong his life for just four months.
The film is centered on the Sonderkommando 12, one of 13 who acted in Birkenau. Muhsfeldt was considered as a war criminal, tried, sentenced to death and executed.
For the effort meant to bring to the screen the little-known uprising in Birkenau and starkly portray Nazi barbarism, the Political Film Society has nominated U.S. gray area as best film and best film on human rights, 2002 .

ROGER EBERT (Adaptation)
"How can you really know what I could do to stay alive, until it be done? I know most of us answer: nothing "So says a member of the Sonderkommando, a group of Jews in the extermination camp at Auschwitz II-Birkenau, who sends his fellow Jews to the gas chambers and then have the bodies crematorium and ashes. For this work, they clean sheets, extra food, cigarettes and four extra months of life. Next the end of the war four months accounted for the extra chance of survival. Could anyone refuse to accept this opportunity? Tim Blake Nelson presents
considerations and moral choices in a system that is totally immoral, perverse. If everyone in the field is destined to die, is an obligation of man to die at the time that was assigned or is your obligation to help? Since both options finally become in death, is more noble to refuse to cooperate or to cooperate? No one can answer these questions without having been there.
Film inspired by the revolt of October 7, 1944, when members fail Sonderkoomando 12 destroyed the four crematoria of the camp. Because they were not rebuilt, many lives were able to be saved. But others were lost when the Nazis used physical and mental torture to try to find the prisoners were laforma gunpowder and weapons
This film is different from many others because it deals with the everyday details of working groups, lying to prisoners when they were led to the gas chambers, killed, burned their bodies and disposed of his remains. All steps in this process are clearly shown in a sequence that begins when a victim Jewish accuses another Jew, a guard, of lying or ends with hands banging on the door of the gas chamber.
"Charge" - is the name given to the bodies of workers. "We have a heavy load today."
Is it part of human nature that we harden when we act on our own survival? "Those who can sacrifice for an ideal ethics are extraordinary exceptions to this rule? When Rosa and Dina, two women prisoners who worked in the munitions factory are tortured to reveal the secret of gunpowder and the common methods fail, are faced with their partners and the interviewer repeated the question and each negative kills one of the prisoners. What is the correct behavior in this case? What if all die, does this affect the election?
In a sense, the murder committed by the Nazis is no worse than the mental torture caused to their victims. Death is part of nature, every day. But the sadistic death in a scenario forcing victims to face impossible choices and knowing that these elections are impossible, it is confusion, numbness and evil. Hoffman says, one of the victims: "I knew we were neighbors. In 20 minutes the whole family and all his future will be gone from this earth. " Knowledge of this loss by the victim is worse than death.
There is no happy ending, except the end of the war. There is no consolation to the victims. It's a movie about choices that seem to cause differences, about trying to act with honor in a closed system where the honor lies death. You might think: if no one will know, but finally, I will know?. Yes, but then you're dead, then who will know? What matters? On the other hand, live knowing that you've taken shamefully is another way to die - a way to kill the human need to protect ourselves. The gray area refers to a world where all are covered with gray ash of death, and has spent so much of this that nobody has

account ...

be screened May 21 at 18.30 in the Museum of the Shoa, Montevideo 919, Buenos Aires

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MAN I married (1940)

Original title: The man I married
Origin: United States. Duration: 77 min.
White and black. Language: English. Subtitled

CREDITS Director: Irving Pichel
Screenplay: Oliver and Oscar HPGarret Schisgall on her short story
Production: Darryl F. Zanuck
Original Music: David Buttolph
Photo: J. Peverell Marley
Edition: Robert Simpson
Art Direction: Richard Day, Hans Peters Set
:
Thomas Little Costumes: Travis Banton Sound
: Joseph Aiken
ACTORS
Joan Bennett (Carol Hoffman)
Francis Lederer (Eric Hoffman)
Lloyd Nolan (Kenneth Delane )
Anna Sten (frieda)
Otto Kruger (Heinrich Hoffman)
Maria Ouspenskaya (Ms. Gerhardt)
Ludwig Stossel (Dr Gerhardt)
Johnny Russell (Ricky)
COMMENT
With the American people at war and on the threshold of entering the conflict, Darryl Zanuck, head of the 20th. Century Fox, took the initiative to conduct a series of films to keep updated their compatriots in the rapid and changing situations that arose in Europe. This film is one of the many films of this type. Discusses the rise of Nazism in Germany and the devastating effects that would have on the relationship between Carol Hoffman and her husband Germanic-American, Eric Hoffman. During his visit to the ancient homeland, Eric embraced the Nazi regime while his wife is horrified at the events of the regime. The film is based on a series of stories published in Liberty magazine. Remember also that the filming of the movie is before the bombing of Pearl Harbor, and displays the image that Americans had certain sectors of Nazi Germany. This drama helped U.S. audiences to learn about Nazi Germany showing the experiences in Germany in 1938 lived an American woman.

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THE TRIUMPH OF THE SPIRIT ( 1989)

Original title: Triumph of the Spirit.
Origin: United States. Length: 120 min Color
. Language: English / German

CREDITS Director: Robert M.
Young Writer: Shimon Arama, Zion Haen, Andrzej Krakowski, Heath Laurence
Producer: Shimon Arama, Arnold Kopelson
Music: Cliff Eidelman
Photo: Curtis Clark
Edition: Norman Buckley, Arthur Coburn
Address Cast: Mike Fenton, Valorie Massalas, Judy Taylor
Production Designer: Jerzy Maslowski
Art Director: Krystyna Maslowska
Sets: Izabela Paprocka
Costume: Hilary Rosenfeld
Second Unit Director: Miguel Gil
Sound Gregory G. Gest
Special Effects: Eddie Surkin
ACTORS
Willem Dafoe (Salamo Arouch)
Edward James Olmos (Gypsy)
Robert Loggia (Arouch father)
Wendy Gazelle (Allegra)
Kelly Wolf (Elena)
Costas Mandylor (Avram Arouch )
Kario Salem (Jacko)
Edward Zentase (Janush)
Hartmut Becker (Mayor Rauscher)
Burkhard Heyl (Assistant Rauscher)
Saretok Zofia (Mother)
Krukówna Grazyna (Julia) Karolina
Twardowska (Bemmi)
Jurande Krol (Sarah)
Wiktor Mlynarczyk (Beppo)
Gralek Jerzy (Kapo Kyr)
Ewa Lesniak. (Kapo Hilda)
COMMENTS

Ryan Cracknell "The Triumph of the Spirit" offers an uncompromising vision of the horrors of Auschwitz concentration camp, from the fate of the Greek Gypsies and particularly, of a champion boxing Arouch Salamo, who fought for the amusement of the brutal Nazi officers and their survival and that of his father. While still alive their defeated opponents were put to death. Based on a true story is certainly one of the most devastating films have ever had about death camps. The realism of its presentation is stronger for having been shot in the cruel winter of 1989 on location in Auschwitz and probably should have affected the cast. Willem Defoe's performance demonstrates the feelings made at the time and this is transmitted to the whole cast.
certainly not an easy film to watch, but compensates and mobilizes those who make the effort. Perhaps in a way this film can prevent about evil that can be repeated again in the world.
The Holocaust War World is one of the tragic moments in modern history. Over the decades there have been many films, some hard-hit, sometimes they do not reflect what happened. "Triumph of the Spirit" is to show all the evil Nazi absolute hardness through the action of Willem Dafoe. Dafoe is Arouch Salamo, a Greek fighter pro Nazis sent to Auschwitz. When their ability is discovered, Salamo is included in a competition with other captives, where the winner will remain alive and receive some benefits, such as choosing an occupation and a further slice of bread on every deal.
"Triumph of the Spirit" is successful in presenting the horrors of Holocaust, but superficially. Families are separated, the familiar faces disappear and friends are killed arbitrarily. It is problematic to see but there is certainly emotional closeness with each of the characters. PETER TRAVERS

"Triumph of the Spirit" is the true story of a Greek boxer who survived the battle between life and death on a ring in Auschwitz. Producer Arnold Kopelson (Platoon), spent seven years developing for the screen story by Shimon Arama and Zion Haen, the indifference of the studies.
The authors did not focus on the revolt that culminated in the destruction of one of the crematoria of Auschwitz and death of the rebels but did so in Salamo Arouch (Willem Dafoe), his family and friends including his love for Allegra (Wendy Gazelle).
fighting scenes do not come but after 45 minutes, which makes the film is rather slow. For the most part the film is dedicated to telling the story of the Holocaust in a version that distinctness safe, enhance selected images. The film is short on dialogue but rich in images.
This film, the first filmed entirely in Auschwitz, tells the true story of Salamo Arouch, middleweight champion of Greek Jewish origin of the Balkans, who survived two years of hospitalization in the field, winning more than 200 combat organized by their Nazi captors. The losers were sent to the gas chamber ...
Arouch, who led after the war a shipping company in Israel, was a consultant for the film.

( be screened on Thursday 14 May 2009 at 18.30 in the Holocaust Museum, Montevideo 919, Buenos Aires)

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LANDSCAPE AFTER BATTLE (1970)

Original title: Krajobraz po bitwie
Origin. Poland. Length: 101 min.
Color. Language: Polish, English. Nominated
Subtitulado Palma de Oro, the Festival de Cannes 1970
Créditos
Dirección: Andrezj Wajda
Guion: Andrezj Brzozowski Relatos Cortos sobre Borowski
de Música original: Zygmunt Konieczny
Fotografía: Sigmund Samosiuk
Edici + it: Halina Prugar-Ketling
Diseño de producción: George Szeski
Escenografía Leonard Mokicz
vestuário: Jerszy Szeski, Renata Vlasov
Maquillaje: Halina Ber
Sonido: Eugene Maciaszek
PROTA GONISTAS
Daniel Olbrychski (Tadeusz)
Stanislas Celinska (Nina) Alexander
Bardini (Professor)
Malanowicz Zygmunt (Sacerdote)
Tadeusz Jancz (Karol)
Drogosz Leszek (Tolek)
Stefan Friedman (Gypsy)
Jerzy Zelnik (U.S. commander)
COMMENT
The film begins with the liberation of a concentration camp, where prisoners are jubilant to the snow fields , breaking the windows of the barracks where they were locked up, impulsively taking off their clothes in the field and throwing them into pits of fire, thus burning as symbols of the degradation of human beings and rejoicing with the arrival of Allied troops.
An intellectual and pragmatic young poet, Tadeusz, casually observes the spectacle and fight to retain his books has managed to hide during the chaos. But behind the constant movement of released prisoners who are being relocated to other places and statements provided by a sympathetic but culturally naive supervising officer, the changes in the austere lives of the prisoners should not be large.
Unable to return to their homelands, the prisoners remain indefinitely behind gates and fences, boundaries patrolled by security forces. Tadeusz thinks, reflecting on camera, the war ended and 1945 happened while we held behind barbed wire. The victors are afraid of these people and keep them and keep very well so do not affect their freedom.
Deeply disturbed by the atrocities and horrors and facing an uncertain future away from their homelands, the prisoners are reduced to self-destructive and immoral behavior: alcoholism, favoritism in the distribution of food, seductive and sometimes exploitation of vulnerable women who come to the field . Among them is a stoic and disillusioned Nina, who is in Tadeusz certain amount of affection. But as the protagonists struggle to reconcile their deep loss and emotional inertia, can they survive to love and humanity in the context of restricted freedom and an uncertain future in Poland after the war?
Based on the stories "The Battle of Grunwald" and "Ladies and gentlemen, this way to the gas, "survivor Tadeusz Borowski fields, the film is a scathing portrait of cultural rootlessness and alienation of the Polish post-war generation. The director reflects the feeling of inertia, anxiety and pessimism of a generation displaced, forced to live a long exile while his nation struggles to rebuild under the uncertain and turbulent Soviet times, controlling the communist Poland.
Through repeated sampling of deshumanziación, degradation and barbarism, Wajda develops an incisive commentary and a cautious account of the suppression of personal freedoms lass and the spread of a destructive ideology, creative the atmosphere of the Cold War.

be screened at the Museum of the Holocaust, Montevideo 919, Buenos Aires, Thursday, May 28, 2009 at 18:30