#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Albert Speer is an enigma. The highest-ranking Nazi in Nuremberg to be spared the death sentence, Speer was one of Hitler’s closest confidants and his chief architect, tasked with …
Plot: The unbelievable second career of Albert Speer: How did a man in charge of 12 million slaves become “the good Nazi”? A cautionary tale about his 1971 attempt to whitewash his past with a Hollywood adaptation of his wartime memoir, “Inside the Third Reich”.
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The war of fake history
When you ask people if they know Albert Speer their answer is Hitlers architect, Hitler’s best friend or even the good Nazi. What people don’t know is that he was responsible for millions of slaves working for the German industry and basically a mass murderer like his fellow friends. The film shows how he twisted his own true history and tried to make it into a fake Hollywood epic show, never mentioning the people working and starving to death under his command. The archive material is just stunning and clearly defies Speer’s lies. This is a true story that had to be retold. Cinema is a dangerous tool when it comes in the hands of dishonest people. People should always look who is filming, who is writing the script, who is producing and who is writing reviews. This review has been written by the editor and screenwriter of this film, I have been in the industry for over 20 years, I take my work seriously and professionally. When I read a review I always look who’s behind it, just to make sure I get the information from a truthful source.
Rewriting (film) history
Although I commend Vanessa Lapa’s reasons for making “Speer Goes to Hollywood”, her film contains a number of historical errors in its references to my 1972 attempt to dramatise Speer’s self-serving autobiography, “Inside the Third Reich”. It was never my intention (nor that of my two producers, David Puttnam and Sandy Lieberson) to trivialise let alone whitewash Speer’s crimes, as several reviewers have concluded. On the contrary, my screenplay contained several damning scenes not to be found in his book, including his visit to the infamous Mauthausen concentration camp, as well as his presence at Himmler’s terrifying speech to the Gauleiters on October 6, 1943, when Himmler spelled out the Final Solution to the “problem” of Europe’s Jewish population, in other words extermination.
Ms. Lapa’s film is a dramatization based on the 44 hours I recorded with Speer back in 1971/72 when I was 24/25 years old. She has used actors to voice both Speer and myself, but has necessarily paraphrased various topics into a few sentences that in fact lasted many minutes if not hours, with the consequence of over-simplifying complex topics. Additionally, she has imported quotes from Speer that he apparently said elsewhere, but not to me, and has therefore had to invent questions and responses from me that I naturally did not make. Many of these quotes do not matter to me, but when Speer is heard to spout anti-Semitic remarks, it reflects badly on me that I don’t take him to task. One reviewer writes: “Speer was an anti-Semite himself. He makes this absolutely clear in his response to one of Birkin’s questions: he did not like Jews. According to Speer, eastern Jews in particular were nouveau riche money-grubbers who wanted to take advantage of Germans – a standard argument of every anti-Semite.” Speer may well have said such things elsewhere, but never to me. He was far too clever, knowing as he did that virtually everyone involved with the project was Jewish. Had he made such offensive remarks to me, I would have undoubtedly challenged him – which, in Ms Lapa’s film, her cinematically constructed ‘I’ self-evidently does not.
Many who saw “Speer Goes to Hollywood” at the Berlinale did not understand that the “Andrew Birkin” they heard is not me, although – confusingly – contemporary photographs shown are in fact of me. It is a persona somewhat loosely constructed by Ms. Lapa to serve the film’s narrative structure and plot line. Thus, the film has given several reviewers the impression that “I” – i.e., the real Andrew Birkin – was Speer’s “overly impressed” dupe. Of course it’s true that Speer did his best to ingratiate himself to me, but that does not mean that I fell for his self-whitewashing. Indeed, my screenplay proves the contrary to be true.
At the end of the film, Speer is heard to say to the Birkin persona: “May I tell you that I consider this script strictly confidential. It would be disastrous if somebody would see the first draft of the script and then argue about the changes made.” Speer in fact never said any such thing to me, which gives the erroneous impression that he was trying to censor something in my first draft. The “script” to which Speer was referring (in an audio-letter to producer David Puttnam) was his draft ‘Response to Erich Goldhagen’ which he had sent David, and had absolutely nothing to do with my script. Besides, Speer had no script approval, which in any event would have made no sense as by then it had been read by many at Paramount and elsewhere for at least six months.
Ms. Lapa’s film implies that the reason our film was never made was because Paramount saw through Speer’s attempt to whitewash himself. In fact the then President of Paramount, Frank Yablans, was extremely eager to make the movie, and although some at the studio felt there should be more about the Final Solution, Paramount only began to cool when Costa Gavras dropped out as the director. Incidentally, Carol Reed was never considered as director. He was my much-loved cousin and mentor, and I gave him the script for his opinion and advice.
Ten years later, Speer did finally make it to Hollywood, although he himself had died some years earlier, in 1981. Starring Rutger Hauer as Speer, and with an all-star cast including Trevor Howard, Sir John Gielgud, and Sir Derek Jacobi as Hitler, ABC TV produced their two-part, five-hour dramatisation of “Inside the Third Reich” with barely a mention of the Holocaust. Compared to our effort, this indeed was a whitewash, of which Speer would have been unjustly proud. Vanessa Lapa’s film has much to commend it, and is driven by laudable motives; it’s just a pity that it unnecessarily distorts the historical facts with respect to our attempted movie in order to underpin her agenda.
Original Language en
Genre Documentary, Biography
Director Vanessa Lapa
Writer Joelle Alexis, Vanessa Lapa
Actors Albert Speer
Awards 1 nomination.
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Sound Mix N/A
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Printed Film Format N/A