IMDb > Undergångens arkitektur (1989)

Undergångens arkitektur (1989) More at IMDbPro »

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Overview

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Director:
Writer:
Peter Cohen (writer)
Contact:
View company contact information for Undergångens arkitektur on IMDbPro.
Release Date:
13 October 1989 (Sweden) See more »
Tagline:
Skönhetskult och barbari i Tredje Riket
Plot:
An absorbing and chilling documentary about the National Socialist aesthetic, and how attempts to create... See more » | Add synopsis »
Plot Keywords:
Awards:
1 win See more »
User Reviews:
Interesting look at the Nazi artistic ideal and how that may have lead to genocide, eugenics and the horrors of the Second World War. See more (9 total) »

Cast

  (in credits order)
Rolf Arsenius ... Narrator (original version) (voice)

Bruno Ganz ... Narrator (German, subtitled English versions) (voice)
Sam Gray ... Narrator (dubbed English version)
rest of cast listed alphabetically:
Martin Bormann ... Himself (archive footage)
Karl Brandt ... Himself (archive footage) (as Dr. Karl Brandt)
Arno Breker ... Himself (archive footage)
Hermann Giesler ... Himself (archive footage)
Joseph Goebbels ... Himself (archive footage) (as Josef Goebbels)
Heinrich Himmler ... Himself (archive footage)

Adolf Hitler ... Himself (archive footage)
Wilhelm Keitel ... Himself (archive footage)
Viktor Lutze ... Himself (archive footage)

Jeanne Moreau ... Narrator (French version) (voice)
Alfred Rosenberg ... Himself (archive footage)
Hans Schmidt-Isserstedt ... Himself (archive footage)
Albert Speer ... Himself (archive footage)
Josef Thorak ... Himself (archive footage)
P.L. Troost ... Himself (archive footage)

Directed by
Peter Cohen 
 
Writing credits
(in alphabetical order)
Peter Cohen  writer

Produced by
Peter Cohen .... producer
 
Original Music by
Sven Ahlin 
Peter Cohen 
 
Cinematography by
Mikael Cohen 
Gerhard Fromm 
Peter Östlund 
 
Sound Department
Klas Dykhoff .... sound editor
Lars C. Lundberg .... sound re-recording mixer
Kjell Westman .... dubbing mixer
 
Camera and Electrical Department
Börje Sundberg .... gaffer
 
Editorial Department
Karin Giernoth .... negative cutter
 
Other crew
Stig Jonassen .... fact checking
 
Thanks
Göran Bengtson .... thanks
Marcel Cravenne .... thanks (as Marcel Cohen)
Boguslaw Drewniak .... thanks
Marylou Gjernes .... thanks
Kay Glans .... thanks
Harald Herrmann .... thanks
Ernst Klee .... thanks
Gerhard Koch .... thanks
Bo Kuritzen .... thanks
Lars-Olof Larsson .... thanks
Lars Lundström .... thanks
Mikael Rosengren .... thanks
Werner Schwanitz .... thanks
Hans Jurgen Singer .... thanks
Rita Stetter .... thanks
Claes Söderqvist .... thanks
Peter Vierek .... thanks
 

Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
119 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
While researching this film in Germany, 'Cohen, Peter' stumbled upon an obscure industrial documentary about various methods of vermin control for factory use. This short, entitled "Kleinkrieg" (or "Little War"), proved invaluable as it was the first to advocate the use of Zyklon-B as an effective means of mass extermination.See more »
Movie Connections:
Features The Eternal Jew (1940)See more »
Soundtrack:
Requiem (excerpt)See more »

FAQ

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1 out of 2 people found the following review useful.
Interesting look at the Nazi artistic ideal and how that may have lead to genocide, eugenics and the horrors of the Second World War., 15 September 2006
Author: dbborroughs from Glen Cove, New York

This fast moving film postulates that the ideas that the Nazi hierarchy held about art influenced the drive to cleanse the race and make it pure. The Nazi's loved the classical ideal and hated anything that was impressionistic or modern and used it as proof of genetic impurity. The film recreates a lecture that toured Germany which showed how modern or degenerate art was based on deformed people. We see the images from the degenerate art and how they are compared to the mental and physically handicapped. This, the film argues, allowed the Nazis to then begin to sculpt the German people into the perfect physical being through murder (after all they are less then human).

Its an interesting idea but I don't think it was as big a deal as the film makes it out to be. Certainly there was the drive to create the perfect little Nazi, but I don't think it was as formalized as the movie says. I think the nice ideas of art and race were less intertwined as this film thinks. That said this movie is kick in the pants and in the head. The ideas it puts forward were probably at the very least operating on a subconscious level as a form of positive re-enforcement. Its all very plausible, which is scary.

Definitely worth seeing for anyone wanting to further color their understanding of Nazi ideas. You may not wholly agree with whats presented, but it will make you think, which isn't a bad thing.

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