Released three days after Adolf Hitler became Reichskanzler, it was the first film to have its screening in Nazi Germany. It became a symbol of the new times touted by the Nazi regime.[2] The title (literally "morning-red") is the German term for the reddish coloring of the east sky about a half-hour before the sunrise. Dawn was the U.S. title. It was filmed in Kiel, Schleswig-Holstein, the first German submarine movie made after World War I.
Production
In March 1927, the UFA studio, the largest film production company in Europe, was purchased by the media magnate Alfred Hugenberg, who wanted to own UFA to produce "national" films that glorified his right-wing politics.[3]Morgenrot was one of the several "national" films that were released by UFA during Hugenberg's time as its owner.[4] Despite Hugenberg's hopes, the UFA studio was heavily in debt at the time he purchased it and the transition from silent films to talkies imposed significant new costs on UFA and, as a result, UFA tended to release films with the widest possible appeal instead of the "national" films that Hugenberg had wanted to see produced.[5] For Hugenberg, profits trumped his politics with UFA and, contrary to expectations, there was no purge of UFA's Jewish employees after he brought the studio as he did not want to lose talent to rival studios.[6] Only a minority of UFA films released between 1927 and 1933 were the sort of films that Hugenberg had wanted to see produced.[7]
The script was for Morgenrot was written by Gerhard Menzel, a successful writer from Silesia who had won the Kleist prize for the best new German play in 1927, who was also a Nazi party member.[8] In turn, Menzel was inspired by an idea submitted by the writer Edgar von Spiegel von und zu Peckelsheim.[9] However, Hugenberg intended for Morgenrot to aid his party, the DNVP (Deutsche Nationale Volkspartei - German National People's Party), which he became the leader of in 1928, not the NSDAP (Nationalsozialistische Deutsche Arbeiterpartei - National-socialist German Workers' Party) .[10] Hugenberg had a difficult relationship with Adolf Hitler, who was sometimes his ally and sometimes his enemy, which depended largely on Hitler's calculations about how much he needed the help of Hugenberg. At the time that Morgenrot went into production, the NSDAP and the DNVP were enemies, but Hugenberg knew a strong showing by his party might change Hitler's attitude. It appears that Morgenort was a sort of peace offering by Hugenberg to the Nazis, who might become the DNVP's allies once again.[11]
The film was also part of an effort to rehabilitate the reputation of the Imperial Germany Navy and of navalism in general.[12] The November Revolution of 1918, the alleged "stab-in-the-back" that defeated Germany just as the Reich was alleged to be on the verge of victory, had started with the great High Seas Fleet mutiny. In October 1918, the mistreated sailors of the High Seas Fleet turned against their officers after being ordered to set sail on a "death ride" into the North Sea to take on the combined Anglo-American Grand Fleet in a battle expected to end in the destruction of the High Seas Fleet at a time when it was already clear that the war was lost. Besides for being mistreated by their officers, who delighted in humiliating them in various petty ways, the sailors of the High Seas Fleet justified the mutiny under the grounds that the war was already lost, making the planned "death ride" utterly pointless and that it was better to live another day than to die now for a lost cause. For the German right, the High Seas Fleet mutiny had given the Navy a vile reputation as a place of mutiny and treason, where the November revolution that had toppled the House of Hohenzollern had begun. Releasing a film featuring a heroic U-boat ace, who is honored to fight and if necessary die for the Fatherland, was intended by the navalist Hugenberg to dissipate the popular image of mutinous sailors waving about red flags, and provide a more positive image of the Imperial Navy.[13] Much of what can be described as Morgenrot's pro-death message with its portrayal of death in war as noble, honorable and even erotic was intended as a sort of rebuttal to the mutinous sailors of the High Seas Fleet.[14] One of the slogans used by the High Seas Fleet sailors when they mutinied in 1918 was "We want to live as free men, not die as slaves!"
The title of the film comes from a 19th-century poem by the Romantic writer Wilhelm Hauff whose first lines read: "Morgenrot, morgenrot/Leuchtest mir zum frühen Tod?/Bald wird die Trompete blasen/Dann muss ich Leben lassen/Ich und mancher Kamerad" ("Morning dawn, morning dawn/Do you glow to me to the early death?/Soon the trumpet will sound/Then I have to give up my life/Me and some comrades").[15] The film was directed by Gustav Ucicky, an Austrian director resident in Berlin who was one of UFA's best directors who went on to become one of the most prominent film directors of Nazi cinema.[16]Morgenrot was shot in October–November 1932 at Kiel and in Helsinki with the Baltic sea "playing" the North Sea.[17] To provide realism, the scenes abroad the U-boat were shot abroad a submarine borrowed from the Finnish Navy.[18]
Plot
Set in 1916, the film offered up a highly fictionised version of the death of the British War Secretary, Field Marshal Herbert Kitchener aboard the cruiser HMS Hampshire, on his way to Russia. A successful U-boat ace, Helmut Liers, lives in the fictional north German town of Meerskirchen with his mother, who has already lost two sons in the war.[19] Liers is the local hero of Meerskirchen due to his command of U-21 and the first part of the film concerns the high-spirited adventures of Liers and his crew while on leave.[20] Everyone thinks that Helga, the daughter of the burgermeister of Meerskirchen is in love with Lieutenant Phipps "Fips" Fredericks, but in fact she is in love with the older man Liers.[21] The Majorin (Lier's mother), tries to get him a shore assignment, which he blocks, saying that he will fight on until Germany either wins the war or he dies, and then goes out to sea on his latest mission.[22]
In the second part of the film, the German Navy learns that a very important British military leader-who is not named in the film, but is clearly meant to be Kitchener-has boarded a cruiser taking him to Arkhangelsk, leading Liers and his U-boat being sent out to essentially assassinate him by sinking the cruiser, a task which is performed successfully (in reality, the Hampshire was sunk by a mine laid by an U-boat, but not in a torpedo attack).[23] Afterwards, a Q ship (a disguised British merchant cruiser), which illegally flies the flag of neutral Denmark, ambushes Liers's submarine, which is badly damaged.[24] A squadron of British destroyers pursue U-21 across the North Sea, which is finally sunk and comes to rest on the seabed. Two of the U-21 crew members including Fips sacrifice themselves to save the others including Liers who make their way back to the Fatherland.[25] The film ends with Liers boarding a new submarine to once again go out to continue the war at sea with the last shot being a close-up of the Imperial German Navy Ensign, which flutters proudly in the wind.[26]
Motifs
The film offered a heroization of death, with the captain Liers explicitly stating that Germans may not know how to live, but they know how to die.[27] In a central scene, the captain of the submarine offers to his men that he and the first officer will go down with the ship in order that they may escape; they refuse on the grounds it will be all or none of them, and the captain glorifies the chance to die with such men, a theme that commonly appeared in Nazi-era films.[28] The first officer Fredericks, having learned that the woman he loves is in love with captain, not himself, and another sailor commit suicide to save the others – a common way to resolve love triangles in Nazi films, where the heroic death saves the man from failure.[29] On the other hand, the Majorin refuses to rejoice over her son's success in sinking the cruiser and with it Lord Kitchener because of the suffering of war, saying that the men abroad the Hampshire also had families-a theme that would not appear in Nazi film.[30] The American historian John Leopold argued that Morgenrot was more of a DVNP film than a Nazi film, noting the film "...emphasized traditional nationalist concepts and stressed the advantages of mature leadership as well as the value of youthful exuberance".[31]
The British historian Jonathan Rayner described the scenes set in the U-boat as highly realistic and authentic as befitting a film shot on an actual submarine, which gave the audience some idea of just how dangerous and claustrophobic life was on submarines in World War One.[32] Through the German submarine service was a new one, lacking long traditions, but the sheer dangerousness of submarine duty conferred on the submariners the status of an elite force, which Rayner wrote portrayed very well.[33] Rayner also wrote that the action scenes such as the sinking of the Hampshire, the battle with the Q-ship, and the final confrontation with the destroyers were all exciting, well done and realistic, making the film into one of the best pre-World War Two submarine films, and as a film that served as a template for many subsequent submarine films.[34] Rayner also notes that film portrayed the Germans as behaving with more honor than the British as Liers declines to sink the Q-ship despite the concerns of his men who suspect that the ship is a Q-ship.[35] The climax of the film, where Fredericks and another sailor sacrificed themselves to save the other eight creates a blood debt as Liers tells the others: "Our lives are not longer ours. We must sail as long as we have breath, again and again, until God gives us leave".[36] Rayner described the film's message as: "The crew's kinship, maintained up and beyond death, surpasses emotional connections on the shore, and compels the German sailors to honor the dead members of the shipboard family in ceaseless service".[37] Through the film ends in 1916, but the devotion to duty showed by Liers and his crew stands in marked contrast to the sailors of the High Seas Fleet who mutinied in 1918.
The film is notable for its misogyny with its message that femininity equals weakness and masculinity equals strength.[38] A key plot in the film are the efforts of Liers's wealthy mother to get him a shore assignment as she has already lost two sons to the war, an effort which her son successfully blocks, saying he would rather die for the Fatherland than shirk his patriotic duty.[39] The female dominated home front in Germany is portrayed as a place of sexual temptation and weakness, in contrast to the harsh and all-male world of the U-boat at sea, which for its all discomforts and dangers, is portrayed in a more favorable light than the home front.[40] The conflict between Liers vs. his mother over what she calls his todessehnsucht (literally "longing for death", through "contempt for life" is a more accurate translation) is in fact the film's major conflict.[41] Lier's mother calls his todessehnsucht "a new kind of religion", a charge that he does not deny, merely saying in response that "We Germans may not how to live, but we know how to die".[42] Lier's mother represents the pre-1914 Germany, which for its all its decency and civility does not have the necessary toughness to survive in a world that is portrayed as merciless and cruel.[43] By contrast, Liers with his love of action and violence together with a general contempt for human life represents the hard, ruthless "New Man" spawned by the war, who for his all rough edges and todessehnsucht paradoxically does the necessary toughness to survive.[44]
Reception
The film's gala premiere in Berlin on 2 February 1933 was attended by the newly appointed Chancellor Hitler as the guest of honor.[45]Josef Goebbels wrote in his diary that Morgenrot was "a good film within its limits".[46] Critical reception towards Morgenrot was generally favorable with the critics praising the acting and the direction with the film being praised as exciting and brisk.[47] The Frankfurter Zeitung, the most prestigious newspaper in Germany, unusually put its review of Morgenrot on its front page, where the film critic of the Frankfurter Zeitung praised the Morgenrot as one of the best German films ever made.[48] However, critics noted that the scenes on the home front were idealtypischer Bilder ("ideal typical picture") in contrast to the scenes set on U-21 submarine, which were praised for their realism.[49] The character of the Majorin played by Adele Sandrock, was described as the film's most memorable character, which was certainly not the intention of the film's producers.[50] The film critic of Vorwärts, the newspaper of the SDP, in one of his last film reviews (Vorwärts was banned later in February 1933) wrote with the character of the Majorin "any nationalist tendency was taken from the film", judging that the arguments made by the Majorin were stronger than those made by Liers.[51] The film critic of Völkischer Beobachter, the newspaper of the NSDAP, in his positive review wrote: "Morgenrot-may it be a symbol for the beginning of a new era".[52] The Berlin correspondent of The New York Times who attended the premiere reported that "It is a film of exceptional qualities, aside from its propagandistic tendencies".[53] Together with the 1931 film Yorck, Morgenrot was one of the most financially successful of UFA's "national" films released under Hugenberg.[54]
The film generated much controversy in Britain in 1933 where reviewers were quick to notice that the unnamed British military leader who goes down on a cruiser on his way to Russia was meant to be Kitchener.[55][56] Additionally, the film's general picture of "English perfidy" as the British only managed to damage Liers's U-boat by illegally flying the Danish flag on a British ship, which suggested that the British could only defeat the Germans via underhanded methods also generated controversy in Britain.[57] Right from the film's premiere in Berlin, British newspapers gave Morgenrot extensive coverage, which the film being criticised for its unflattening picture of the Royal Navy.[58] The film was debated in the House of Commons after a Tory backbencher, Sir Charles Cayzer, demanded that the Foreign Office have the ambassador in Berlin, Sir Horace Rumbold, made an official protest against Morgenrot, saying the film was very disrespectful and insulting towards Britain.[59] The prime minister, Ramsay MacDonald, was unwilling to have such a protest being and the Foreign Secretary, Sir John Simon, found himself during the debates in the House of Commons "...in the rather odd position of having to defend a Nazi film".[60] To placate Cayzer, Simon agreed to the House of Commons form a committee to investigate Morgenrot, which discovered that the UFA had borrowed the submarine used in the film from the Finnish Navy without informing the Finns what the film was all about.[61]
The Imperial German Navy or the Kaiserliche Marine was the navy of the German Empire, which existed between 1871 and 1919. It grew out of the small Prussian Navy, which was mainly for coast defence. Kaiser Wilhelm II greatly expanded the navy. The key leader was Admiral Alfred von Tirpitz, who greatly expanded the size and quality of the navy, while adopting the sea power theories of American strategist Alfred Thayer Mahan. The result was a naval arms race with Britain, as the German navy grew to become one of the greatest maritime forces in the world, second only to the Royal Navy.
The Kriegsmarine was the navy of Nazi Germany from 1935 to 1945. It superseded the Imperial German Navy of the German Empire (1871–1918) and the inter-war Reichsmarine (1919–1935) of the Weimar Republic. The Kriegsmarine was one of three official branches, along with the Heer and the Luftwaffe, of the Wehrmacht, the German armed forces from 1935 to 1945.
U-boats were naval submarines operated by Germany, particularly in the First and Second World Wars. The term is an anglicised version of the German word U-Boot, a shortening of Unterseeboot, though the German term refers to any submarine. Austro-Hungarian Navy submarines were also known as U-boats.
Alfred Ernst Christian Alexander Hugenberg was an influential German businessman and politician. An important figure in nationalist politics in Germany during the first three decades of the twentieth century, Hugenberg became the country's leading media proprietor during the 1920s. As leader of the German National People's Party, he played a part in helping Adolf Hitler become chancellor of Germany and served in his first cabinet in 1933, hoping to control Hitler and use him as his tool. The plan failed, and by the end of 1933 Hugenberg had been pushed to the sidelines. Although he continued to serve as a guest member of the Reichstag until 1945, he wielded no political influence. Following World War II, he was interned by the British in 1946 and classified as "exonerated" in 1951 after undergoing denazification.
Carl Friedrich Heinrich Reinhard Scheer was an Admiral in the Imperial German Navy. Scheer joined the navy in 1879 as an officer cadet and progressed through the ranks, commanding cruisers and battleships, as well as senior staff positions on land. At the outbreak of World War I, Scheer was the commander of the II Battle Squadron of the High Seas Fleet. He then took command of the III Battle Squadron, which consisted of the newest and most powerful battleships in the navy. In January 1916, he was promoted to Admiral and given control of the High Seas Fleet. Scheer led the German fleet at the Battle of Jutland on 31 May – 1 June 1916, one of the largest naval battles in history.
The German National People's Party was a national-conservative and right-wing populist political party in Germany during the Weimar Republic. Before the rise of the Nazi Party, it was the major conservative and nationalist party in Weimar Germany. It was an alliance of German conservative, German nationalist, supporters of the German monarchy, völkisch, and antisemitic elements supported by the Pan-German League. Ideologically, the party was described as subscribing to authoritarian conservatism, German nationalism, and from 1931 onwards also to corporatism in economic policy. It held anti-communist, anti-Catholic, antisemitic, and monarchist views. On the left–right political spectrum, it belonged on the right-wing, and is classified as far-right in its early years and then again from the late 1920s when it moved back rightward.
HMS Courageous was the lead ship of her class of three battlecruisers built for the Royal Navy in the First World War. Designed to support the Baltic Project championed by First Sea Lord John Fisher, the ship was very lightly armoured and armed with only a few heavy guns. Courageous was completed in late 1916 and spent the war patrolling the North Sea. She participated in the Second Battle of Heligoland Bight in November 1917 and was present when the German High Seas Fleet surrendered a year later.
The submarine film is a subgenre of war film in which the majority of the plot revolves around a submarine below the ocean's surface. Films of this subgenre typically focus on a small but determined crew of submariners battling against enemy submarines or submarine-hunter ships, or against other problems ranging from disputes amongst the crew, threats of mutiny, life-threatening mechanical breakdowns, or the daily difficulties of living on a submarine.
Günther Prien was a German U-boat commander during World War II. He was the first U-boat commander to receive the Knight's Cross of the Iron Cross and the first member of the Kriegsmarine to receive the Knight's Cross of the Iron Cross with Oak Leaves of Nazi Germany. It was Germany's highest military decoration at the time of its presentation to Prien.
UFA GmbH, shortened to UFA, is a film and television production company that unites all production activities of the media conglomerate Bertelsmann in Germany. The original UFA was established as Universum-Film Aktiengesellschaft on December 18, 1917, as a direct response to foreign competition in film and propaganda. UFA was founded by a consortium headed by Emil Georg von Stauß, a former Deutsche Bank board member. In March 1927, Alfred Hugenberg, an influential German media entrepreneur and later Minister of the Economy and Minister of Agriculture and Nutrition in Adolf Hitler's cabinet, purchased UFA and transferred ownership of it to the Nazi Party in 1933.
The Soviet Navy was the naval warfare uniform service branch of the Soviet Armed Forces. Often referred to as the Red Fleet, the Soviet Navy made up a large part of the Soviet Union's strategic planning in the event of a conflict with the opposing superpower, the United States, during the Cold War (1945–1991). The Soviet Navy played a large role during the Cold War, either confronting the North Atlantic Treaty Organization in western Europe or power projection to maintain its sphere of influence in eastern Europe.
The Russian battleship Potemkin was a pre-dreadnought battleship built for the Imperial Russian Navy's Black Sea Fleet. She became famous during the Revolution of 1905, when her crew mutinied against their officers. This event later formed the basis for Sergei Eisenstein's 1925 silent film Battleship Potemkin.
Herbert Windt was a German composer who became one of the most significant film score composers of the Third Reich. He was best known for his collaborations with the director Leni Riefenstahl on films Triumph of the Will and Olympia.
SMS Dresden was the second and final ship of the Cöln class of light cruisers to be completed and commissioned in the Kaiserliche Marine. The ship was laid down in 1916 and launched on 25 April 1917; she was commissioned into the High Seas Fleet on 28 March 1918. She and her sister Cöln were the only two of her class to be completed; eight of her sisters were scrapped before they could be completed. The ships were an incremental improvement over the preceding Königsberg-class cruisers.
HMS Faulknor was a British destroyer of the First World War. She was purchased by the Royal Navy whilst still under construction in Britain for the Chilean Navy who had ordered her in 1912 as part of the Almirante Lynch class. She was renamed after the Faulknor family of British nineteenth century naval officers.
Waldeck-Rousseau was an armored cruiser built for the French Navy in the first decade of the 20th century. She was the second and final member of the Edgar Quinet class, the last class of armored cruiser to be built by the French Navy. She was laid down at the Arsenal de Lorient in June 1906, launched in March 1908, and commissioned in August 1911. Armed with a main battery of fourteen 194-millimeter (7.6 in) guns, she was more powerful than most other armored cruisers, but she had entered service more than two years after the first battlecruiser—HMS Invincible—had rendered the armored cruiser obsolescent. Waldeck-Rousseau nevertheless proved to be a workhorse of the French Mediterranean Fleet.
The U-boat campaign from 1914 to 1918 was the World War I naval campaign fought by German U-boats against the trade routes of the Allies. It took place largely in the seas around the British Isles and in the Mediterranean. The German Empire relied on imports for food and domestic food production and the United Kingdom relied heavily on imports to feed its population, and both required raw materials to supply their war industry; the powers aimed, therefore, to blockade one another. The British had the Royal Navy which was superior in numbers and could operate on most of the world's oceans because of the British Empire, whereas the Imperial German Navy surface fleet was mainly restricted to the German Bight, and used commerce raiders and unrestricted submarine warfare to operate elsewhere.
Unternehmen Michael is a 1937 German film directed by Karl Ritter, the first of three films about the First World War which he made during the period when the Third Reich was rearming.
Karl Ritter was a German film producer and director responsible for many Nazi propaganda films. He had previously been one of the first German military pilots. He spent most of his later life in Argentina.
Urlaub auf Ehrenwort is a 1938 propaganda film directed by Karl Ritter, the last of three films set in the First World War which he made during the period when Nazi Germany was rearming.
References
↑ E. Baron v. Spiegel at IMDb; Joerg Friedrich Vollmer: Imaginaere Schlachtfelder. Kriegsliteratur in der Weimarer Republik – eine literatursoziologische Untersuchung. PhD Thesis, Freie Universitaet Berlin 2003 (Chapter 5, p 413) Online Edition
Leopold, John (1977). Alfred Hugenberg The Radical Nationalist Campaign against the Weimar Republic. New Haven: Yale University Press. ISBN0-300-02068-6.
Kester, Bernadette; Veenkamp, Hans (2003). Film Front Weimar Representations of the First World War in German Films of the Weimar Period (1919-1933). Amsterdam: Amsterdam University Press. ISBN9789053565971.
Rayner, Jonathan (2007). The Naval War Film Genre, History and National Cinema. Manchester: Manchester University Press. ISBN9780719070983.
Waldman, Harry (2008). Nazi Films in America, 1933- 1942. Jefferson: McFarland. ISBN978-0786438617.
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