In the early 1990s, I interviewed a large number of Germans who had risen to prominence in the film industry under the Nazis. I spoke to actors, directors, critics and politicians. I met Leni Riefenstahl’s cameraman, the composer who wrote Lili Marleen, and the woman who could be called the Nazi Marilyn Monroe, Kristina Söderbaum.
We drove to Horw, near Lucerne, to interview Söderbaum, star of many films, most of them directed by her husband, Veit Harlan. These included Jud Süß, widely regarded as the most antisemitic film ever, and the ridiculous epic Kolberg, about the Napoleonic siege of the Prussian city. Söderbaum was so often drowned in