Duck and Cover (1952)

“This is Tony, going to his Cub Scout meeting. Tony knows the Bomb can explode anytime, day or night, any time of year. He’s ready for it. Duck and cover!”

Oh, yeah. Those American kids of the 1950s were ready, all right. Thanks to governmental terror propaganda, every kid knew what to do when the Communists dropped the Bomb. After all, they were told what to do in the film Duck and Cover, part of our October Short Film Month spotlight.

Bert the Turtle and a monkey in Duck and Cover (1951)

Duck and Cover is part animation, part live action. It begins and ends with Bert the Turtle giving some sound advice about what to do when faced with an atomic bomb, or a monkey with a stick of dynamite. In between, a soothing voice tells us that everything will be allright if you take cover underneath your school bench, or behind a low wall, or just anyplace you can find.

Today, Duck and Cover may look silly and ridiculous, but it must be remembered that in the 1950s, the danger of nuclear war seemed very real, and probably was. Even though Russia and Communism are not mentioned, even indirectly, the film was nevertheless a tool for strengthening patriotic awareness.

The advice given, to duck and cover, may not be as inane as it seems at first glance. Even an atomic bomb will not kill every living thing within the blast radius, and the more cover you have, the better your chances of survival. The film only becomes ridiculous because it nowhere gives any hint of exactly how dangerous and terrible a nuclear explosion actually is. It gives the impression that if you just cover yourself with a picnic blanket, you might be perfectly safe.

Duck and Cover is not a great film by any standards. The animations in particular are cheap, and the rest is nothing special. So you do not watch this film on any cinematographic merits.

This film is best enjoyed for providing some amusing perspective on a world that was still a reality only thirty years ago. But if you think about it, the film can also be seen as a powerful allegory to some politicians’ solutions to today’s problems like climate change, migration or foreign wars. Just duck and cover, and everything will be all right. (And don’t forget to cover your head with that newspaper.)

Man hiding under newspaper when the Atomic Bomb strikes, from Duck and Cover (1951)

Duck and Cover
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Year: 1952
Running time: 9 min
Director: Anthony Rizzo
Stars: Robert Middleton (voice)
Image quality: Good
Resolution: Medium (640×480)
Sound quality: Acceptable
Best file format: MPEG2 (322 M)

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Der Fuehrer’s Face (1942)

Normally, I do not do short film on this blog, but because of the rich treasure of classic short films available at the Internet Archive, I have decided that October is Short Film Month. First out is the classic cartoon Der Fuehrer’s Face.

Hideki Tōjō on sousaphone, Hermann Göring on piccolo, Benito Mussolini on bass drum, Heinrich Himmler on snare drum, Joseph Goebbels on trombone and Donald Duck in Der Fuehrer's Face (1943)

The beginning of the film cannot really be described any better than Wikipedia does it: “A German oom-pah band—composed of Axis leaders Joseph Goebbels on trombone, Heinrich Himmler on snare drum, Hideki Tōjō on sousaphone, Hermann Göring on piccolo and Benito Mussolini on bass drum—marches noisily at four o’clock in the morning through a small German town where everything, even the clouds and trees, are shaped as swastikas, singing the virtues of the Nazi doctrine.” There, the tone is set, and the rest of the film continues in the same crazy, satiric and nationalistic spirit.

Due to its propagandistic content, the film has not been released on DVD and Bluray as many times as most other Donald Duck films from the 30s and 40s, especially not in Europe. Still, some say it is one of the best. At any rate, there are many brilliant gags, and it is a film well worth watching.

The film has many neat little details. For example, in the image below, note how even the telephone poles (barely visible) are shaped like swastikas. Another detail, for anyone interested in how Disney cut corners in the war year animations, is when the band marches back across the screen just after the titles. The swastikas on the uniforms are mirrored, because the entire section is just mirrored from the first time they marched past.

Der Fuehrer’s Face received an Academy Award for best animated short. At least two other nominees from the same year can be found at the Internet Archive: the Tex Avery cartoon Blitz Wolf and George Pal’s Puppetoon Tulips Shall Grow. Both are excellent, and highly recommended.

This film is best enjoyed if you like the Disney shorts from the classic period. This is one you may have missed if you relied on the official collections from Disney.

A factory with swastikas in the Donald Duck film Der Fuehrer's Face (1943)

Der Fuehrer’s Face
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Year: 1942
Running time: 8 min
Directors: Jack Kinney
Stars: Clarence Nash (voice)
Image quality: Good
Resolution: Medium (640×480)
Sound quality: Good
Best file format: Cinepack (76 M)

The Fighting Lady (1944)

The Second World War saw on both sides of the conflict a considerable rise in the quality of its cinematic propaganda material. One of the driving individuals behind the American material was William Wyler, who in 1944 helped direct and produce both The Memphis Belle, about a B-17 Flying Fortress in action over Germany, and The Fighting Lady.

Curtiss SB2C Helldiver over USS Yorktown aircraft carrier during World War II in The Fighting Lady (1944)

The Fighting Lady tells the story of an aircraft carrier in the Pacific. The ship is unnamed in the film, but most of the scenes were filmed on board the USS Yorktown. The film stresses the difference between the boredom of everyday routine, and the dangerous bursts of action during a battle. An effective and dramatic contrast is thereby reached, which together with authentic combat footage helps to make this one of the better American documentary/propaganda productions from the war years.

Typical of Wyler’s films, there is no attempt to hide the losses of human lives caused by the war. On the contrary, the US casualties are held up as tragic but also heroic. No doubt, this helped to strengthen home front morale, as long as the audience were also told that the terrible cost was paid back in full to the enemy.

If you like this sort of film, you may also want to take a look at Wyler’s Thunderbolt (1947), about the P-47 Thunderbolt and the action it saw during the campaign in Italy.

This film is best enjoyed for a better understanding of one of mankind’s most terrible conflicts ever fought, not forgetting that it is in many ways propaganda and not foremost a historical document.

Aircraft landing on carrier deck during World War II in The Fighting Lady (1944)

The Fighting Lady
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Year: 1944
Running time: 1 h 1 min
Director: Edward Steichen, William Wyler
Stars: Robert Taylor (narration)
Image quality: Good
Resolution: Medium (720×480)
Sound quality: Good
Best file format: MPEG2 (1.8 G)

Samsara (2011)

On the official website of the film Samsara, you can read: “SAMSARA is a Sanskrit word that means ‘the ever turning wheel of life’ and is the point of departure for the filmmakers as they search for the elusive current of interconnection that runs through our lives.”

If you are like me, you will want to enjoy this visual masterpiece without too many preconceived notions. You will want to stop reading here and skip directly to the download link. But of course, you are welcome to read on. I will not reveal too much about the contents.

African warriors in Samsara (2011)

For all intents and purposes, Samsara is a silent film. Sure, it does have a soundtrack, but that soundtrack does nothing more and nothing less than a good soundtrack for a silent film from the 1920s. There is no spoken dialogue or narration, nor any background sounds that I can remember. The soundtrack rests entirely on the music, partly original music composed for the film. Some of the tracks have lyrics, but those lyrics are not directly related to the images, as far as I can tell. For example, there is a Swedish lullaby early on, but none of the images it accompanies seem to be in any way connected with the theme or the words. And yet, the music works extremely well, producing an almost hypnotic sensation.

But the most memorable and powerful aspect of the film is the visual images, filled with vibrant colours. The photography is exquisite, and so is the cutting. The tempo is slow, yet many sudden twists mean that we have time to see images from many different countries and many aspects of both nature and human life. This is a film filled with contrasts. Peacefulness and hostility. Untouched nature and huge cities. Ancient history and modern technology. East and west. Life and death. Religion and … well, I am not sure there is a contrast to religion, but the religious motif is definitely there, and it is very inclusive in the sense that several different religions are represented, and none is shown to be more important than the others.

Samsara is, indeed, a turning wheel of life. If it has a weakness, then it is that it tries to say too much. There is not one message in this film, but many, and perhaps that means it is spread just a little bit too thin, sending its energy into many directions at once. But that is a minor quibble, because who said that good art always has to be propagandistic?

This film is best enjoyed as cinematic poetry. It can be analyzed and interpreted endlessly, but will it enhance the enjoyment of viewing? I doubt it, though meditating about the many wonderful pictures may give you some insight into the world we live in, or even into your own self.

Dancers in Samsara (2011)

Samsara
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Year: 2011
Running time: 1 h 42 min
Directors: Ron Fricke
Image quality: Good
Resolution: Low (720×304)
Sound quality: Excellent
Best file format: Cinepack (1.4 G)

Que viva Mexico! (1979)

Que viva Mexico! is one of those films which is interesting even before you have started watching it, because it is a fascinating history.

Sergei Eisenstein's Que viva Mexico (1979)

The brilliant Soviet film maker Sergei Eisenstein went to Mexico in the early 1930s, to make a film there. He immediately started shooting, and the ideas for the script grew as he worked with the material.

But Eisenstein was never to complete his film. After having shot a good deal of film, he ran out of money and, unable to enter the United States, where he had planned to complete the film, eventually had to go back to the Soviet Union without being able to bring the film with him. The film material instead ended up in the US, where it was used to make several other films.

In the end, the complete, unedited material was sent to Soviet in a trade, but by then Eisenstein was long since dead. Instead, his assistant Grigori Alexandrov, who had been with him in Mexico, set out to make a film as true to Eisenstein’s vision as possible. This is the film that can be downloaded from the Internet Archive. It was not released until 1979, almost 50 years after the project had commenced.

The Internet Archive version is dubbed in Italian. Provided that you either understand Italian or have a good set of subtitles, that is not really a problem; only some brief parts in the beginning and end require lip synchronisation. I distinctly remember having seen this version some years ago with subtitles, so I assume that I found and downloaded them from some other Internet site. Try Google, and they should hopefully not be too hard to find.

This film is best enjoyed if you know a bit about the background, which is why I have focused on the film’s history above. However, it is in many ways a beautiful and powerful film, and gives us a brief glimpse of life in Mexico in the 1930s.

Sergein Eisenstein's Que viva Mexico (1979)

Que viva Mexico!
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Year: 1979
Running time: 1 h 24 min
Language: Italian (no subtitles)
Director: Sergei Eisenstein, Grigori Alexandrov
Image quality: Acceptable
Resolution: Medium (576×456)
Sound quality: Acceptable
Best file format: Cinepack (667 M)

Triumph des Willens (1935)

Last week I wrote about the American World War II propaganda film The Nazis Strike (1943), a film which made heavy use of the enemy’s own propaganda films, showing them in a very different light. One of the sources most prominently used in The Nazis Strike is Leni Riefenstahl’s classic Triumph des Willens (Triumph of the Will) about the 1934 Nazi congress at Nuremberg.

Sieg heil! to Adolf Hitler and the swastika in Triumph des Willens / Triumph of the Will (1935)

Riefenstahl had already made a similar film about the 1933 Nazi party congress, Sieg des Glaubens (1933), which is also available at the Internet Archive. I have not seen the older film (which is said to be of great historical value), but I have been told that Triumph des Willens is much more polished and better propaganda.

If you are interested in Riefentahl’s career, incidentally, you will also want to check out the silent film Der heilige Berg, where she participates as an actor before becoming a director.

I think Triumph des Willens has much to teach us about today’s political climate. It teaches us what can hide behind seemingly harmless rhetorics; it teaches us about the power of mass psychology; hopefully it also teaches us that in order to build a peaceful world, you have to look beyond your own borders and beyond your own social group.

This film is best enjoyed in small pieces. The entire film, with all the speeches by almost-forgotten Nazi officials, feels rather stiff today unless you have a strong interest in Nazi propaganda and ideology. But it is certainly both educational, and to some extent enjoyable, to watch some classic sequences, not least the beginning with Hitler’s flight to Nuremberg and ensuing triumphant motorcade. Another classic is Hitler’s concluding eight-minute speech, containing a lot of tosh about the superiority of the German people in general and its leaders in particular. If you have already seen The Nazis Strike, it is very interesting to watch this film to see the material in its original context.

Adolf Hitler: "We carry the best blood and we know this." in Triumph des Willens / Triumph of the Will (1935)

Triumph des Willens
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Year: 1935
Language: German (English subtitles)
Running time: 1 h 44 min
Director: Leni Riefenstahl
Image quality: Acceptable
Resolution: Medium (640×480)
Sound quality: Acceptable
Best file format: H.264 (619 M)

The Nazis Strike (1943)

When the United States entered World War II after the bombing of Pearl Harbor, it became necessary for the government and military to explain to people in general just what the war was all about. Why they were fighting and who they were fighting. The assignment to create a series of propaganda films, collectively titled Why We Fight, went to Frank Capra. These classic films are all available at the Internet Archive, and today we take a look at the second of the series, The Nazis Strike.

Swastika over world map in Why We Fight: The Nazis Strike (1943)

The film describes mainly Nazi Germany’s occupation of Czechoslovakia and Poland, and thereby the events immediately before and after the beginning of World War II. It does so mainly by using German news and propaganda films. Through ingenious editing and splicing the whole thing together with animations (mostly strategic maps) made by the Disney Studios, Capra puts the German material in a new light, turning the German propaganda into American propaganda.

But the most disturbing part of the film is the beginning, where Nazi methods of propaganda and infiltration are described. Most startling is, perhaps, a scene from a meeting of the Nazi American federation known as the German-American Bund (see image below). During the meeting, guards drag away and beat up a person who seems to a protester. Frightening parallels come to mind with today’s political realities.

The best versions of the films in the Why We Fight series can usually be found in the FedFlix collection, along with thousands of other films produced for the U.S. government. Not only military films with great historical value, but also films about energy, education, health and just about any other subject that a government could want to inform about.

Below follow links to the complete series Why We Fight.

  1. Prelude to War
  2. The Nazis Strike
  3. Divide and Conquer
  4. The Battle of Britain
  5. The Battle of Russia
  6. The Battle of China
  7. War Comes to America

I will probably write in more detail about a few of the others in the future.

This film is best enjoyed for its novel and beautiful turning German propaganda into highlighting the dangers of Nazism. For historical facts, this film, as all propaganda, should be used with considerable care.

Fritz Kuhn and the German-American Bund in Why We Fight: The Nazis Strike (1943)

The Nazis Strike
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Year: 1943
Running time: 41 min
Directors: Frank Capra, Anatole Litvak
Stars: Walter Huston (narration)
Image quality: Good
Resolution: Medium (549×366)
Sound quality: Good
Best file format: MPEG2 (1.9 G)