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The story of the rise of the Rothschild financial empire founded by Mayer Rothschild and continued by his five sons. From humble beginnings the business grows and helps to finance the war against Napoleon, but it's not always easy, especially because of the prejudices against Jews.Written by
Col Needham <email@example.com>
Howling mobs made way for this lone figure, walking with dignity to his mother's house. The House of Rothschild! The house of five brothers, who stood steadfast against all their enemies! (Print Ad- The Gazette, ((Montreal PQ)) 5 May 1934)
The newspaper dates and headlines read as follows: March 22, 1815: Napoleon has reached Paris April 5, 1815: All Europe mobilizing June 18, 1815: Napoleon victorious in first great advance June 19, 1815: Another victory for Napoleon June 20, 1815: Fear grips England; Panic in stock exchange See more »
You won your fight with me, Jew, but remember, victory may have been won too dearly.
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Older television prints of "House of Rothschild" were totally in black-and-white, and did not show the final scene in its original Technicolor form. Most current TV prints have now restored the Technicolor finale. See more »
This is quite a rousing film for a biopic, and sports one of Arliss's best performances. Made two years after Hitler's rise to power, the whole subtext of the film is anti-Semitism and the then-current events in Europe. Napoleon is the stand-in for Hitler--the man all peace-loving men must join together to wage war against to secure peace. There are scenes of violence in the Jewish ghetto--stirred up by anti-Semite Karloff. Everything Rothschild does he does to end anti-Semitism; many speeches on this theme. Rothschild's father is shown as a Shylock-type, making money with money, fooling the tax collector, but with reluctance and great bitterness, doing so only because other professions are denied him, and because the tax collector overcharges Jews. C. Aubrey Smith gives a really delightful performance as Wellington. The final scene is one of the first live-action sequences to be made in three-color Technicolor, before BECKY SHARP. The topicality gives the film an immediacy that is often lacking in period films.
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