The Great King (digital quality)
1942

The Great King (digital quality)

Der Große König (Original Title)

An Epic Film Biography of Frederick The Great... One of the Most Lavish & Popular Films of the Third Reich.

Filmed at the height of Nazi Germany’s triumph, in late 1940 and early 1941, The Great King was Germany’s most ambitious film to date. Both Goebbels and Hitler were fascinated by Frederick the Great and had frequently invoked him in their propaganda as a proto-National Socialist hero, in terms calculated to enhance Hitler’s own prestige and authority. The Great King extended this myth-making onto the plane of grand movie spectacle. Amidst vividly realized battle scenes, Frederick is shown rallying his armies back from crushing defeat, leading Prussia’s way to brilliant triumph in the Seven Years War. His generals counsel capitulation, and his subjects succumb to despair. But Frederick soldiers on; his strength of will is Prussia’s safeguard and salvation. The film’s concluding montage underscores this message, showing an omniscient Frederick, his gigantic eyes looming over homeland and people, in an unmistakable reference to Germany’s own Führer. Yet what seems most striking about The Great King today are its frank depictions of popular war-weariness and complaint, served up by the everyday Prussians – miller’s daughters and foot soldiers – who foreground the film’s storyline. Otto Gebühr, who had long specialized in Frederick roles on screen and stage, plays the lead; director Harlan’s wife, the inimitable Kristina Söderbaum, the miller’s daughter. Directed by Veit Harlan; music by Hans-Otto Borgmann; featuring Otto Gebühr, Kristina Söderbaum, and Gustav Fröhlich.

1h 58min
March 3, 1942
6.73
Admin comments

Surely one of the best films of the decade from one of the best directors. Pompous, self-indulgent, melodramatic, operatic, and therefore full of many condensed truths of life, Harlan depicts male characters that are ambivalent to the core. Otto Gebühr, who played King Friedrich II. in over a dozen films from the early 20s onwards, culminating in this film, gives a masterful performance as the titular hero, who can only let his true emotions come into play when he is alone. Bruno Mondi was one of the best cameramen of his time at Harlan’s disposal. His cinematography produces many special moments that had me engaged from the beginning. The way he shows close-ups of faces (think Hollywood of the 30s combined with Eisenstein) or makes one of his tremendous tracking shots (equally effective in enhancing the dynamics on the battlefield or zooming in on people). His super-impositions, montage sequences or the combination of both, like in the incredible closing images of Friedrich's eyes over a rotating windmill.

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