Hollywood helped Adolf Hitler with Nazi propaganda drive, academic claims
He added that the German head of MGM spoke of the ‘satisfying collaboration on both sides’ to the press. Movie critic: Historian Ben Urwand has researched the reach of Nazi influence on Hollywood before the war Protest: Goebbels ordered Germans to disrupt screenings of the film All Quiet on the Western Front, above MGM also invested in German rearmament to get around currency export restrictions, the historian said. Urwand believes that filmmakers not only wanted to continue working during the build up to the war, they also thought Hitler may win the war and wanted to safeguard the future of their businesses.
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Hollywood Warns Gays: Careful What You Wish For (WATCH)
The latest installment in this genre is the film Between Us , adapted from the hit Off-Broadway play by Joe Hortua. The film version, which I directed, stars Julia Stiles and Taye Diggs as newlyweds, and Melissa George and David Harbour as their old friends. Like those other movies in the grand Hollywood tradition of matrimony, Between Us arguably makes the case that heterosexual marriage ain’t what it’s cracked up to be.
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Also in this section After Nestle, Aptamil manufacturer Danone is now hit by breast milk scandal But now a young historian says that in the years before the war, Tinseltown was marching to a very different tune. Ben Urwand, 35 has written a book, The Collaboration: Hollywood’s Pact With Hitler, in which he cites documents that prove, he says, US studios acquiesced to Nazi censorship of their films actively cooperated with the regime’s world propaganda effort. Hollywood is not just collaborating with Nazi Germany, Urwand told the New York Times. Its also collaborating with Adolf Hitler, the person and human being. Urwand, reportedly a folk musician from Australia who has become a member of the Society of Fellows at Harvard, said his interest was first aroused as a student in California when he read an interview with the screenwriter Budd Schulberg referring to meetings between the MGM boss Louis Mayer and a representative of the Nazi regime to discuss cuts to his studio’s films. The book describes many Jewish studio bosses not only censoring films to suit the regime, but also producing material that could be inserted into German propaganda films and even financing German weapons manufacturing.
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