Yes the documentary has just been shown over here as well, it was definitely a big deal at the time for both the German people (it had an astromical budget for its day) and more particularly for the propaganda machine and the man behind it, Josef Goebbels. It was seen not only as a propaganda 'ace' but also German's opportunity to show that it could match it with Hollywood.
Hiya, chums
I did a lot of work on Nazi propaganda a few years ago when I was with the Open University. Fascinating stuff, isn't it ?
You are quite correct, Adam, that this film was a big budget project, but you might be interested to know that it was not the only such project consuming vast funds and men at this time, when the regime was under immense, and increasing, pressure. For example, in 1943 UFA released
Munchhausen, starring a huge star of the time, Hans Albers. This film actually eclipses the Terry Gilliam film for grandeur, in my opinion, and yet one carefully angled to avoid any mention of Nazi ideology, the better to appeal not to foreign audiences but to internal German viewers. At least that one's watchable - don't get me started on what Riefenstahl was doing...
Anyway, this was Goebbels's conviction - that attempts to ram Nazi messages down the throats of the viewing public would lead to box-office disaster, a conviction he had come to early in his role of cinematic mastermind when openly Nazi sympathetic films such as
SA Mann Brandt had stiffed at the box-office even as Hitler was coming to power. So when he makes huge budgeted films such as
Titanic or the even more ridiculous
Kolberg, wherein troops were pulled from the front line and stuck in Napoleonic uniforms to recreate huge cavalry charges, what he is actually attempting to do is not directly compete with Hollywood movies at the box-office - it's not like
Gone With the Wind or
The Wizard of Oz are going to open in Vienna after all, and as for
Casablanca... - he's trying to get domestic audiences to go to the cinema in the hope
(a) that they'll think that if the regime can produce big movies, then it must all be working out in reality and not ask awkward questions
(b) forget the increasing amount of rubble and bombs going off back out in the real world
(c) perhaps buy into the idea that their husbands, sons and brothers are dying for a reason, albeit as in
Munchhausen, for very obscure ones, and that in time they might themselves have to make that sacrifice to make a "better", Fuhrer defined, future.
Now, it is interesting that in the film Ismay is very much a
Fuhrerprinzip orientated chap - his vision uber alles. One wonders if, and at what point in production if he did, Goebbels noticed that ? Could that have been an underlying reason for the director's demise ?
PS - kudos to whoever came up with this documentary that they managed to link " Titanic" with "Nazi". Now, if only they had been able to work in "UFOs" or "Sharks" it'd never be off Discovery channels...