Hollywood’s Creepy Love Affair With Adolf Hitler, in Explosive New Detail
Uncovered: new evidence of Jewish movie moguls’ extensive collaboration with Nazis in the 1930s
In fact, the Nazis liked The House of Rothschild so well that a scene from the movie was actually incorporated into the most notorious Nazi anti-Semitic film, Der Ewige Jude. The ADL was so disturbed by the film that it convinced the studios to avoid all mention of Jews in their future productions. And so Jewish characters, who had been featured in hundreds of movies in the 1920s, all but disappeared from the American screen after Hitler’s rise to power. Hitler’s government couldn’t have been happier: There would be no reference to the ever-more desperate plight of the Jews under the Nazi rule in any Hollywood film of the ’30s.
Incredibly, the creative collaboration between the Nazis and Hollywood only deepened throughout the 1930s as exclusionary violence against Jews increased and Hitler tightened his grip on power. In the late 1930s, Urwand claims, Paramount and 20th Century Fox produced newsreels in Germany depicting major Nazi events. Most shocking of all, Urwand maintains, in 1938 MGM invested in factories making German weapons in Austria and the Sudetenland. As Urwand put it in a recent YouTube interview, “The biggest movie studio in America was actually financing the production of German armaments immediately before World War II.” After Germany invaded Poland, MGM further consolidated its alliance with the Nazis by donating eleven of its most popular movies to the cause of German war relief.
In 1937, Urwand discovers, Jack Warner seems to have agreed to Gyssling’s demand that the word “Jew” not be spoken in The Life of Emile Zola, which depicted the Dreyfus case; Warner Bros. reassured the German consul that Dreyfus was not a major figure in the movie. The studios even sometimes signed their communiqués to Berlin “Heil Hitler!”: They were loyal to the Führer, even when he didn’t want their movies and in fact wanted to see them dead. Eventually, in 1939, Warner Brothers produced a B movie titled Confessions of a Nazi Spy—the first and only Hollywood criticism of Hitler Germany to be released in the six years since the Nazis took power. But the damage had already been done; the cravenness of the American film industry had made them de facto allies of the Nazis.
Hollywood’s repression of the facts about Jewish persecution continued even during the war years, after all the studios had finally been driven from Germany (MGM and Paramount remained there well into 1940) and America was at war with the Nazis. Despite the courageous efforts of screenwriter Ben Hecht to raise public awareness of the Holocaust while it was happening, there was only one reference to what was being done to the Jews in any Hollywood movie made during the war: a 5-minute sequence of a minor courtroom drama called None Shall Escape (1944), in which Nazis shoot a group of Jewish prisoners who fight back while they are being loaded onto a train. Five minutes was all the studio heads could give to the mass murder of their people, which by then had become common knowledge—in part as a result of Hecht’s full-page newspaper ads and his 1943 Madison Square Garden pageant, We Will Never Die.
Hitler saw himself as a cinematic hero, a matinee idol who overwhelmed the adoring crowds awestruck by his power. He stepped in on occasion and edited the Nazi newsreels himself; he realized that film swayed the masses. Hitler knew he had to feed people fantasy in order to get them to follow his evil vision, and he knew that the movies had taught him how to exploit fantasy’s power: how to seduce on the grandest possible scale. The movies he found most inspiring, most magical in the spell they cast on an audience, were made in America. As Neal Gabler argued in An Empire of Their Own, the Hollywood Jews invented the America of our dreams, a place of high excitement, courage, laughs, compassion, family feeling, and true love. Hitler’s dream was different, and it found a terrible fulfillment in mass murder and war. Hollywood could have helped awaken the world to the looming danger of Nazism, but instead the Jewish dream-makers cast their lot with the world’s—and the Jews’—greatest enemy.
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