Scrapbookpages Blog

May 22, 2015

“how Europe killed itself, committed suicide.” is the theme of a new film by Laslo Nemes

Filed under: Germany, Holocaust, movies — Tags: , — furtherglory @ 10:10 am
Laslo Nemes (photo credit Getty Images)

Laslo Nemes (photo credit Getty Images)

The title of my blog post is a quote from a news article which you can read in full here.

Today, I am writing about a new film, made by Laslo Nemes, that is entitled Son of Saul. The film is about the Holocaust, but you would never know it from this title.

Unfortunately, I think that most Americans will be immediately reminded of the TV series entitled Better Call Saul.

The movie Son of Saul is about the Sonderkommando Jews, who helped the Nazis in the death camps by removing the bodies from the gas chambers and putting them into the cremation ovens.

I recently blogged about one of the Sonderkommando Jews on this blog post:

This quote is from the news article about the movie Son of Saul:

“… the film, which has been picked up for distribution by Sony Pictures Classics, has started a debate about whether the Sonderkommando were victims or perpetrators, and what it means to focus on one man’s life.

According to the news article: At a news conference here last week, Mr. Rohrig, a Hungarian poet who lives in New York, tapped into a longstanding debate about whether the Sonderkommando were victims or perpetrators. “They were 100 percent victims,” he said. “They had no control of their destinies.”

This quote is also from the news article:

In an interview here on Tuesday, Mr. Nemes, 38, said he welcomed the debate and intended the film to start a conversation. “Since the end of the Second World War I’ve seen very clearly that many people more or less consider the Holocaust as a mythical story and approached it probably from a defensive mechanism, as a way to get away from it through survival stories,” he said.

The following quote is also from the news article.

He continued, “I don’t think Auschwitz and the extermination of the European Jews was about survival. It was about death. And how Europe killed itself, committed suicide.” Mr. Nemes said he had always been frustrated by a more conventional approach to the Holocaust — one best exemplified by Steven Spielberg’s “Schindler’s List,” that focuses on the victims. In “Son of Saul,” Mr. Nemes said he wanted to “reduce the distance” between the viewer and Saul to show the character’s moral complexity.

February 20, 2015

Judgment at Nuremberg — the 1961 movie about German judges on trial

Palace of Justice at Nuremberg where trials were held

Palace of Justice at Nuremberg where trials were held after World War II

Yesterday, I watched the 1961 black and white movie, about the Judge’s trial at Nuremberg, on the TV movie channel.  When I first saw this movie in 1961, I knew nothing about the Holocaust, nor about the crimes committed by the Nazis.  I didn’t understand the movie whatsoever, when I saw it in 1961, yet I gave it high praise.

This was a movie which had the best possible actors, including a young unknown actor, William Shatner, who later became famous as Captain Kirk.

One thing that was accurately portrayed in the movie was how the German civilians groveled before the Americans after the war.

The movie shows that the American soldiers and the German civilians, who had had nothing to do with the killing of the Jews, nor the conduct of the war, were getting along fine, and living it up in the German bars.  The Germans were “whistling past the graveyard.”

The movie starts out with a photo of the Nazi emblem, as the credits roll.

Nazi emblem designed by Albert Speer

Nazi emblem designed by Albert Speer in 1933

Then we see the emblem blown up with a mighty blast.

Building at the Zeppelin Field where the Nazi eagle was blown up

Building at the Zeppelin Field where the Nazi eagle was blown up

This quote is from the 1945 news reel, which shows the blowing up of the emblem:

A swastika will no longer flaunt its crooked arms above the Nazi shrine. With the situation well in hand, the Yanks stage a review. Newsreel and Signal Corps camera men made this record of the last days of Hitler’s Germany. The cleansing fires of the war have purged Germany of Nazi power. Let’s be sure it never again rises from her ashes.

Here’s what Wikipedia has to say about the Judges trial, which is the subject of the 1961 movie:

Begin Quote:

The trial depicted in the film [Judgment at Nuremberg] was part of the Subsequent Nuremberg Trials (formally the Trials of War Criminals before the Nuremberg Military Tribunals), a series of twelve U.S. military tribunals, held after World War II (1946-49) in the Palace of Justice, Nuremberg, that tried surviving members of the military, political, and economic leadership of Nazi Germany for war crimes following the Trial of the Major War Criminals before the International Military Tribunal (IMT).

The film focuses on the trial of certain judges who served before and during the Nazi regime in Germany and who either passively, actively, or in a combination of both, embraced and enforced laws that led to judicial acts of sexual sterilization and to the imprisonment and execution of people for their religions, racial or ethnic identities, political beliefs and physical handicaps or disabilities.

End quote

During the film, there were many atrocities shown, which were not actually mentioned during this trial; this was a film about the trial of the Nazi Judges, not the Nuremberg International Military Tribunal. The movie showed the gas chamber at Dachau, as well as the shrunken heads found at Buchenwald, and other alleged Nazi crimes.

I wrote about the showing of the shrunken head, at the Nuremberg IMT, in this previous blog post:

I previously blogged about the Nuremberg Trials at

This article explains the trial:

Begin quote:
Judges Judging Judges—Judgment at Nuremberg

By Michael Asimow, UCLA Law School (August 1998)

Stanley Kramer’s masterpiece Judgment at Nuremberg (1961) stands alone as the finest film about judges ever made.

In the film, four Nazi judges are placed on trial at Nuremberg before a panel of three American judges. Three of the German judges are Nazi thugs but one of them, Ernst Janning (played by Burt Lancaster), was quite different.

Janning had been a famous and aristocratic legal scholar, a drafter of the Weimar constitution, and a man who detested Hitler and the Nazis. Yet he remained on the bench under the Third Reich.

All defendants are convicted and sentenced to life imprisonment. The chief American judge, Dan Haywood (played memorably by Spencer Tracy), brushes aside the various excuses offered by defense counsel Rolfe (a role for which Maximilian Schell won an Oscar).


The Nuremberg war crime trials presented many thorny jurisprudential issues, such as the problem of ex post facto criminal law and the issue of how the court obtained jurisdiction over the defendants. In particular, what justification is there for an international (rather than a German) tribunal to try a case in which the offenses were committed by Germans against other Germans?

Judgment at Nuremberg is based on the third Nuremberg trial (there were a total of thirteen) . Charges were brought against sixteen functionaries in the legal system—judges, prosecutors, and officials of the Ministry of Justice. They were by no means the worst offenders in the Nazi justice system, but the worst offenders were dead.

Janning is a conglomeration of several actual defendants, including Franz Schlegelberger who was formerly undersecretary in the Ministry of Justice. Schlegelberger offered the defense that if he were to resign, a worse man would take his place. The Court thought there was much truth in this but convicted him anyway.

The key evidence against Janning was the Feldenstein case. Feldenstein was an elderly Jew convicted under the Law for the Protection of German Blood and German Honor for having sex with Irene Hoffman, a much younger Aryan woman (played by Judy Garland).

Janning was the judge and he sentenced Feldenstein to death. At the Nuremberg trial, Janning conceded that he had decided to condemn Feldenstein even before the trial began, regardless of what the evidence would show.

However, like everything else in the movie, the Feldenstein case presents serious issues. There was solid evidence presented at the trial that Feldenstein and Hoffman had a sexual relationship, even though they denied it and Hoffman continued to deny it at Nuremberg. Given that evidence, is it right to say that Janning’s decision to find Feldenstein guilty was itself a war crime?

End Quote

January 27, 2015

My critical review of “Night Will Fall” documentary film

Filed under: Germany, Holocaust, movies — Tags: , — furtherglory @ 8:52 am

Update Oct. 8, 2015:

Today, I read a news article about the film entitled Night Will Fall. As you read the news article, see if you can find the words “Exchange Camp” used to describe Bergen-Belsen.  Why is this important?  Bergen-Belsen was set up as a camp to exchange prisoners during Word War II, but the Allies couldn’t have cared less about exchanging prisoners.

The following quote is from the news article:

Begin quote:
Footage [in “Night Will Fall”] shows how armed German soldiers stepped aside and allowed the British forces to march behind enemy lines. “The more I think about it now, I am amazed that none of us opened fire!” said George Leonard (Oxfordshire Yeomanry).

The soldiers’ footage became part of a project produced by Sidney Bernstein for the Allied Forces, titled “German concentration camps factual survey.” Later Alfred Hitchcock crossed the ocean to become part of the team as his contribution to the war effort.


British soldiers lined up all the SS men and women and made them prisoners of war, including the camp commandant, Josef Kramer. Mania Salinger described how she yelled with joy, “The Germans are gone,” when she realized that the watch tower was deserted. She was the first to be filmed behind the barbed-wire fence by the liberating British troops.
The two weeks of filming visually conveyed the feeling of despair and horror witnessed by the liberators of the camp. “These were Europeans of another faith who had been killed for no other reason.”


The ample footage documenting the horror of the Holocaust was made possible by the American-British film department partnership which decided to use the power of the moving image in war time. Initially the program was set up to make small propaganda films for the war effort and “to deal with a defeated Germany.” Sidney Bernstein was in charge of the British Psychological Warfare Department.

Dr. Toby Haggith, of the Imperial War Museums, described how the “camera was used in a very specific way, to gather evidence, to collect evidence.” To show “how a person was brutalized or murdered, how they’ve been killed, you have to get close to that person, to the wounds.” In prior wars, combat cameramen had not filmed such gut-wrenching scenes.

Sidney Bernstein said in 1984 that his instructions to allied cameramen were “to film everything that could prove one day that this actually happened. It will be a lesson to all mankind as to the Germans, who had denied that they knew anything about it.” The film would be the evidence that “we could show them.”

Soldiers corralled officials and mayors within a reasonable range, to come watch the disposal and burial of bodies in the pit and they filmed them watching. Bernstein wanted film evidence that they had seen the burials because most people would deny that it happened. SS officers were also filmed helping with the burial of the skeletal cadavers.

Five hundred Hungarian troops captured on film with the SS were manning the digging operation to bury as many bodies as quickly as possible in order to reduce the evidence. “The Master Race had been taught to be hard and they could kill in cold blood. It was proper to make them bury the nameless, hopeless creatures they had helped starve to death.” By April 24, 1945, some sound equipment was brought in to better document Bernstein’s film.
Scrolling through the horrible pictures frozen in time of some of the enslaved, tortured, starved, killed, and burned by German fascists, the movie ends with a powerful message. “Unless the world learns the lesson these pictures teach, night will fall. But by God’s grace, we who live will learn.”

End Quote

Continue reading my original post:

Last night I watched the premiere of the new documentary film Night Will Fall. 

This quote is from a description of the film:

Begin quote:

The HBO documentary “Night Will Fall” is a movie about the Holocaust, a movie about remembering the Holocaust and primarily, at least in formal terms, a movie about a movie. It may not do full justice to all these subjects in its tight 78 minutes, but it’s not a film you’re likely to forget.

The most wrenching sequences in “Night Will Fall” are the scenes it incorporates from “German Concentration Camps Factual Survey,” a movie begun under the auspices of the British government in 1945. Using film shot by Allied cameramen at camps including Auschwitz, Bergen-Belsen and Dachau, and assembled by a team that included Alfred Hitchcock as a supervising director, “Factual Survey” was meant to be a historical document and a teaching tool; among the stated goals of the filmmakers was that it be shown to Germans to prove to them that the horrors of the camps were real.

End quote

Sorry to say, I did not like the film at all. It is obvious that an attempt was made to make an artistic film, but artwork is not appropriate in a DOCUMENTARY.  One thing that irritated me to death was the frequent shots of the end of a film strip.  Back in the old days, the end of a film reel used to show symbols.  This technique was very much overdone in the film.

But there was one good thing about the film, which surprised me.  The narrator does say that the Bergen-Belsen camp was voluntarily turned over to the British — it was not “liberated.” You can read about how the camp was taken over by the British on my website here.

Every story about Bergen-Belsen that you will ever read, and every story that you won’t read, will tell you that the British LIBERATED Bergen-Belsen, surprising the SS men who did not have a chance to escape.  At least the film tells the truth about this important point.

Unfortunately, the documentary does not mention that Bergen-Belsen was an EXCHANGE camp, intended for Jews to be exchanged for Germans held by the Allies. It became a concentration camp only in the last six months that it was in existence.

The film starts off with scenes of northern Germany in the Spring of 1945.  It is the 12th of April and two Germans are approaching the Allied lines.  They are bringing a message to the British that there is a large concentration camp nearby where there is a typhus epidemic in progress; the Germans want a truce because they need help to stop the epidemic.

The narrator then says that he was “amazed that none of the British soldiers fired” on the Germans who had approached them, asking for a truce.

Then we learn that, when the British approached the camp, they saw “neat and tidy orchards and well stocked farms” according to the narrator of the film. There was a war going on, but the narrator of the film implies that the German people were not suffering at all.

As soon as the British soldiers entered the Belsen camp, they lined up the SS men and women who have stayed behind at the camp, taking their lives in their hands, to care for the sick prisoners. I previously blogged here about Herta Bothe, one of the SS women who stayed behind to help.

The SS men and women are immediately taken as Prisoners of War, including Josef Kramer, the Commandant of the camp who had met the British at the gate, offering his help.

Josef Kramer was arrested immediately and put in chains

Josef Kramer was arrested immediately and put in chains

SS men who stayed behind to help the British were forced to handle dead bodies without gloves

SS men who stayed behind to help the British were forced to handle dead bodies without gloves

The German SS men, who had stayed behind at the camp, to help with the typhus epidemic in the camp, were forced to handle the dead bodies without gloves, as shown in the photo above.

The next thing that we see is a photo, which shows healthy prisoners, including a number of smiling children and a woman who is overweight.

One of the prisoners who was at Bergen-Belsen, when the camp was turned over to the British, was Anita Lasker Walfish, who was 19 years old at that time. She speaks in the film, but it is not mentioned that she was previously a prisoner at Auschwitz, where she played in the women’s orchestra.

30,000 corpses were found by the British at Bergen-Belsen

30,000 corpses were found by the British at Bergen-Belsen

It is at this point in the film that it is mentioned that there are 30,000 dead prisoners in the Bergen-Belsen camp.  It is not mentioned in the film that the British meticulously counted the dead bodes, so who came up with this number?

I previously blogged about the number of deaths at Bergen-Belsen at

The British used a bulldozer to shove the bodies toward a trench at Bergen-Belsen

The British used a bulldozer to shove the bodies toward a trench at Bergen-Belsen

Curiously, the film footage of a British soldier shoving dead prisoners with a bulldozer is not shown in the documentary.

What really happened at Bergen-Belsen?

The following information is from a previous blog post that I did about Bergen-Belsen:

Begin quote:

Before surrendering Bergen-Belsen to the British on April 15, 1945, Heinrich Himmler had ordered about 7,000 people to be evacuated from the camp. The three train loads of prisoners, which left the camp between April 6 and April 11, were made up of prominent Dutch Jews, Hungarian Jews, Jewish prisoners from neutral countries and Jewish prisoners who held foreign passports. Himmler was hoping to use these prisoners to negotiate peace terms with the Allies.

In preparation for surrendering the camp, two German officers had been sent to a British outpost to explain that there were 9,000 sick prisoners at Bergen-Belsen and that there was no water after the electric pump had been hit in an Allied bombing attack. [There is no mention of the broken water pump in the Night Will Fall documentary.]

The Germans proposed that the British Army should occupy the camp immediately to keep the epidemics in the camp from spreading to the troops on both sides. In return, the Germans offered to surrender the bridges over the river Aller.

At first, the British rejected the German proposals, saying it was necessary that the British should occupy an area of ten kilometers around the camp in order to be sure of keeping their troops away from the epidemic, but eventually a compromise was reached and the British agreed.

On April 15, 1945, Bergen-Belsen was surrendered to British Officer Derrick Sington, who wrote about it in a small book called Belsen Uncovered which was published by Duckworth, London in 1946.

Of course, Himmler had not anticipated that the British would film the dead bodies in the camp and then show the film in movie theaters around the world without explaining that the prisoners had died of typhus. And he certainly didn’t expect that the staff members, who had voluntarily stayed behind in the camp, would be arrested, or that some of the Hungarian soldiers, who were assigned to help with the surrender of the camp, would be shot by the British.

When the film of Bergen-Belsen was shown in American theaters, it was naturally assumed that the prisoners had been deliberately starved to death or killed in a gas chamber, since the film made no mention of the typhus epidemic in the camp. Nor was it mentioned that the water pump at Bergen-Belsen had been hit by Allied bombs and fresh water had to be brought in by trucks.

When British soldiers were finally allowed, as agreed upon in the negotiations, to enter Bergen-Belsen on April 15, 1945, they at first saw nothing amiss, according to some of the liberators. Smiling, healthy prisoners came out to greet them and some of the 500 children in the camp cheered and waved to them. But as they advanced further into the camp, they were stunned by the sight of thousands of unburied naked bodies.

The horror was beyond human imagination. The sickening stench of the rotting corpses was so great that British soldiers later claimed that they could smell the camp from a distance of 10 miles, although they had not smelled the bodies when they first entered, according to eye-witness reports.

In the last months of the war, as the Russian army advanced westward, prisoners in the camps in Poland had been evacuated and ultimately 60,000 prisoners had been crowded into the Bergen-Belsen camp which did not have enough space for them. Some of those who were still alive at Bergen-Belsen were walking skeletons. There were a variety of diseases that were rampant in the camp.

The Germans claimed that they had been unable to fix the broken water pump which had been destroyed by Allied bombs, and many inmates were dying of thirst, even though the camp was near a creek which the camp Commandant claimed was not fit for drinking. The camp used cisterns for its water supply, but the water could not be accessed without the electric pump that had been hit in a bombing raid. The nearby Army garrison had arranged for drinking water to be brought to the camp by truck, but it had not been nearly enough.

The British promptly fixed the broken pump and provided water from the creek for the camp which had been without water for six days. Creek water? Is this why 13,000 prisoners allegedly died after the British took over?

End Quote

This photo is included in the documentary Night Will Fall

This photo is included in the documentary Night Will Fall

After the Belsen camp was turned over to the British, German civilians from the nearby towns were forced to remove the bodies of the 13,000 prisoners who died afterwards, while the survivors stood by and jeered at them. The photograph above shows a group of survivors in the background on the left, watching as German citizens were forced to handle the diseased bodies with their bare hands at gunpoint.

German homes in the nearby towns were taken by the British military and assigned to the surviving prisoners after the barracks in the camp were burned down. The German people in the area were on their own, trying to find some place to live after they were thrown out of their homes.

The documentary is not entirely about Bergen-Belsen.  About mid way into the documentary, the story wanders off with a new topic — the Maidenek camp in Poland. Maidenek was the German name for Majdanek, a concentration camp in Poland, which had absolutely nothing to do with Bergen-Belsen.

The documentary Night Will Fall does not mention gas chambers, but gas chambers had to be included, so Maidenek was brought in instead.

We see photos of a warehouse full of hair, including a photo of braided hair which might have been taken at Auschwitz, not Majdanek. Then we see empty cans of Zyklon-B, the gas that was used to kill lice — and Jews.

Then we see photos of toys at Majdanek, followed by photos of sacks of human hair, along with photos of brushes and glasses. There are photos of suitcases and false teeth.  What are we supposed to take from this:  Was it wrong for the Germans to save everything that was brought to the camps by the prisoners?

Finally, we get to Auschwitz and we see Eva Moses Kor, who says that she got hot chocolate and cookies from the nice Russian soldiers who liberated Auschwitz.

Then it is on to Dachau.  The word Dachau is spelled out, not spoken. That’s O.K. — I can’t say the word Dachau either.  I thought that this was a nice touch — spelling the word instead of saying it.

At this point, we learn that 10,615 prisoners were DISPOSED OF at Dachau.  I don’t know what that means.

The worst part of the documentary Night Will Fall was the section about Dachau:  Negatives of the film were shown.  This was a way to disguise the fact that the scenes at Dachau were not nearly as bad as the scenes at Bergen-Belsen.

We hear Dr. Isaac Levy speak in the film, as he says that there were 40,000 prisoners still alive at Bergen-Belsen — and 35,000 corpses. Who counted the corpses?

Then the documentary shows a few photos of Dachau, including the clothes that were hung up outside the disinfection chambers.  We see the death train, as we are told that the prisoners “were left to die.”  We are told that there were 17 prisoners who were still alive on the train, along with 3,000 dead prisoners. We are told that “the Germans knew about Dachau, but they did not care.”

We are told that Hitchcock wanted to show the world how close the Germans lived to the camps. At this point, we are told that German civilians lived very near the Ebensee camp, which was in a resort area. The implication is that the German people were enjoying themselves at a resort in Austria while the people were suffering in the concentration camps. Ebensee was an “end destination” for the prisoners who were marched out of the Mauthausen camp for their own safety, as the war was going on around them..

At the end of the film, we learn that “thousands were murdered just before the liberation of the camps”.  We see the German people, who were marched for 5 miles at gun point, up a hill, to see the dead bodies at the Buchenwald camp. We see a close-up of the dead bodies, but there is no mention of typhus in the camp.

Throughout the film, there is no hint that the Allies committed any war crimes during World War II.

January 1, 2015

New documentary film, entitled “Night Will Fall,” revolves around a British propaganda film

Filed under: Germany, Holocaust, movies — Tags: , , , — furtherglory @ 9:57 am

Update Jan. 26, 2015:

HBO will show the documentary film, entitled “Night Will Fall” on January 26, 2015 at 9 p.m. EST. This is a film about the making of a film. Note that this film will be shown at 6 p.m. in California.

You can read about the film at

Alfred Hitchcock typing with one finger, back in the day when he worked on propaganda films

Alfred Hitchcock typing with one finger, back in the day when he worked on propaganda films

This quote is from the news article, cited above:

Begin quote:

The HBO documentary “Night Will Fall” is a movie about the Holocaust, a movie about remembering the Holocaust and primarily, at least in formal terms, a movie about a movie. It may not do full justice to all these subjects in its tight 78 minutes, but it’s not a film you’re likely to forget.

The most wrenching sequences in “Night Will Fall” are the scenes it incorporates from “German Concentration Camps Factual Survey,” a movie begun under the auspices of the British government in 1945. Using film shot by Allied cameramen at camps including Auschwitz, Bergen-Belsen and Dachau, and assembled by a team that included Alfred Hitchcock as a supervising director, “Factual Survey” was meant to be a historical document and a teaching tool; among the stated goals of the filmmakers was that it be shown to Germans to prove to them that the horrors of the camps were real.

 End quote

Continue reading my original post:

Before some of my readers get upset and accuse me of calling a British World War II film “propaganda,” let me assure you that I am not the one who used the term “propaganda” to describe a British documentary film.

America also had “propaganda” teams, staffed by Jews who had been trained at Camp Ritchie in America, who came into the liberated camps and told “propaganda” stories that were total lies.

I blogged about this at

This quote is from a news article, which you can read in full here:

[The film] Night Will Fall revolves around the making of Sidney Bernstein and Alfred Hitchcock’s propaganda film, German Concentration Camps, commissioned in 1945 to show German audiences the atrocities committed in the name of Nazism, but never screened at the time. […]

Bernstein, who would go on to found UK TV station Granada, had experienced the camps first-hand, having visited them within days of their liberation as part of Britain’s propaganda unit.

Did the British really have something called a “propaganda unit”?  I had to look up the word “propaganda” to really understand the purpose of the “Britain’s propaganda unit.”

This definition of propaganda is from this website:

Propaganda is information, ideas, or rumors that are deliberately, and widely, spread to help or harm a person, group, movement, institution, nation, or other similar entity.

The word propaganda is usually used when describing official, government versions of events, where the implication is that the stories and information being given are distorted in such a manner as to conceal actual events, and to make you think in the way that the government wants you to think.

Propaganda is at its best when there is a war going on. Since WWI to the present time, propaganda has been used by the media to cheer their country on, sometimes through false hopes and lies. Often, during these periods, the government will leak out certain information of its choosing, and the media will report it, but not always in the way that it was given. In other words, propaganda is often used to misguide the public.

Photo of the children in Bergen-Belsen who came out to meet the British "liberators" of the camp

Photo of the children in Bergen-Belsen who came out to meet the British “liberators” of the camp

Notice the overweight woman in the back row in the photo above.  She was one of the healthy women at Bergen-Belsen, who did not have typhus.

Sign put up by the British warned visitors that there was a typhus epidemic in the camp

Sign put up by the British, after the camp was turned over to them, warned visitors that there was a typhus epidemic in the Bergen-Belsen camp

Irma Grese and Josef Kramer stayed behind to help the British, but they were arrested

Irma Grese and Josef Kramer stayed behind to help the British, but they were arrested (click to enlarge photo)

This quote is from the news article about the making of the film:

London-based film-maker André Singer spent the best part of two years studying gruesome images shot by allied troops as they liberated German concentration camps in 1945 for his documentary, Night Will Fall.

“It was the most appalling footage I’ve ever had to deal with in a pretty long career in film. You start off believing that you’ll get anaesthetised to it, but you don’t,” he says.

Night Will Fall revolves around the making of Sidney Bernstein and Alfred Hitchcock’s propaganda film, German Concentration Camps, commissioned in 1945 to show German audiences the atrocities committed in the name of Nazism, but never screened at the time.

“It was meant to show the German people the error of their ways, but events moved on and the project was shelved,” explains Singer. “In the period from the liberation of the camps in April 1945 through to the Nuremberg trials, the world was in chaos. It was an extraordinary time.”

So the British are now admitting that they made propaganda films about the concentration camps, including the Belsen camp that was voluntarily TURNED OVER TO THEM?

Bergen-Belsen was actually a very large camp which had 8 different sections.  You can read about the camp on my website at

This quote, from my website, is about section 6 where Anne Frank died:

6. Tent Camp (Zeltlager)

This camp was constructed at the beginning of August 1944. At first it was used as a transit camp for women’s transports arriving from Poland. In late October and early November 1944, around 3,000 women who had been evacuated from Auschwitz-Birkenau were housed in the tents because pre-fabricated barrack buildings which had been removed from the Plaszow camp near Cracow and transported to the Star Camp were not yet ready for them. According to Eberhard Kolb (Bergen-Belsen from 1943 to 1945) the Dutch Red Cross was told that the prisoners in this transport were “ill but potentially curable women” and because of this, they were the first to be evacuated from Auschwitz-Birkenau. These sick women, who had just completed a journey of several days in overcrowded railroad cattle cars now had to camp out in tents with no heat, no toilets, no lighting, no beds and only a thin layer of straw covering the bare ground.

Anne Frank and her sister Margot were transferred to Bergen-Belsen from Auschwitz in October 1944 and most likely were housed temporarily in the tent camp. Due to their condition of ill health, the prisoners in the tent camp were not forced to work.

Josef Kramer, the Camp Commandant, who had been in charge of the Belsen camp for only 6 months, was arrested on the day that the British arrived.  He had met the British at the gate into the camp and offered his help.  What a fool!  He should have escaped and gone to Argentina.

The photo below shows Josef Kramer after he was arrested.

Josef Kramer was arrested after he offered to help the British

Josef Kramer was arrested after he offered to help the British



December 29, 2014

New movie about Steve Jobs is in the works

Filed under: Health, movies — Tags: , , — furtherglory @ 11:40 am
The first Apple Computer

The first Apple Computer

Steve Jobs

Steve Jobs

In the past, I have written a couple of blog posts about Steve Jobs.  These blog posts have been getting a lot of hits lately, and I set out to find out why.

I have now discovered that there is a new movie, being produced by Aaron Sorkin, which will be about the life of Steve Jobs.  You can read about the upcoming movie in the news here.


October 9, 2014

Documentary, about a child suvivor of 5 Nazi camps, nominated for an Emmy

Filed under: Germany, Holocaust, movies, World War II — Tags: , , , , — furtherglory @ 11:27 am

This news article tells about a Jewish child who survived 5 concentration camps during the course of nearly 3 years while World War II, and the Holocaust, were going on.

This quote is from the news article, cited above:

“Misa’s Fugue,” the documentary based on the true story of Frank “Misa” Grunwald’s almost three years in Nazi concentration camps as a child, has exceeded [Jennifer] Goss’ expectations in pretty much every way.

So when Goss, along with her husband, and Grunwald, the film’s director, Sean Gaston, and other important players in the making of the documentary found themselves at the Mid-Atlantic Emmy Awards in Philadelphia on September 20, they knew all the late nights, and trips were worth it.

I know what you are going to say: How could a child survive FIVE concentration camps, during the genocide of the Jews, aka the Holocaust, when everyone knows that children under the age of 15 were immediately gassed.

Note that the article calls Terezin a “death camp.”  Why send children from one death camp to another, and then let them survive? Was it because the Nazis wanted survivors to tell the story in documentaries 70 years later?

According to the article:

[Framk ”Misa”] Grunwald was born in Czechoslovakia in September of 1932. Four months later, Adolf Hitler became Chancellor of Germany. “Misa’s Fugue” centers around Grunwald’s journey through Terezin [Theresienstadt], Auschwitz, Mauthausen, Melk and Gunskirchen concentration camps.

Nearly 1.5 million children were murdered during the Holocaust between 1933 and 1945. Grunwald, now 82, was one of the less than 300 children who survived the Nazi death-camp at Terezin in the Czech Republic. For the next two years Grunwald found himself in various camps, in various countries, often getting there by death marches.

So Frank Grunwald spent a year, as a little boy, at Theresienstadt (now called Terezin) before he was hauled off to Auschwitz.  According to the article, Terezin was a “death-camp.”

Grunwald was probably taken to the Auschwitz II camp, aka Auschwitz-Birkenau, where children under the age of 15 were immediately gassed.

Yet somehow, Grunwald was not gassed at Auschwitz, but instead, he was transferred to Mauthausen, a Class III camp for convicted criminals and “Return Unwanted” prisoners, where he was again not killed in the gas chamber, but was transferred to the Melk sub-camp and then to the Gunskirchen subcamp of Mauthausen. Records show that Gunskirchen had only 450 prisoners.

Why did the stupid Nazis keep moving Grunwald around like that?  Did they want a child to survive to the age of 82, so that he could tell his “Holocaust survivor” story in a documentary?

I suspect that Frank “Misa” Grunwald was on the “death march” out of Auschwitz when the camp had to be abandoned because the Soviet liberators were on their way.

According to some Holocaust experts, the purpose of a “death march” was to kill the prisoners before the Soviets could save them.  Some of the survivors of these death marches were sent to Mauthausen in Austria because this was as far away as they could get from the liberators who were coming to save the children.

Melk and Gunskirchen were both sub-camps of Mauthausen where prisoners were working in underground factories which were building Messerschmidtt airplanes.

The Gunskirchen camp was not set up until very late in the war, so there is not much information about it on the Internet.

Ebensee is much better known than Gunskirchen, and I have a page about it on my scrapbookpages website.

The photo below is an old photo which was taken at Ebensee. This photo proves that there were very young children taken to Austria near the end of the war.

Young children at the Ebensee camp in Austria

Young children at the Ebensee camp in Austria

Notice that one of the young children has no shoes, although the older boy has a nice pair of boots.

You can see some old photos of Gunskirchen, taken by the American liberators of the camp, on this website:

The photo below shows the Melk sub-camp, which was in the same area of Austria as Gunskirchen.

Melk, a sub-camp of Mauthausen where Jews worked in factories

Melk, a sub-camp of Mauthausen where Jews worked in factories

Survivors of Ebensee sub-camp of Mauthausen greet their liberators

Survivors of Ebensee sub-camp of Mauthausen greet their liberators

Ebensee sub-camp of Mauthausen

Ebensee sub-camp of Mauthausen

The prisoners at Ebensee, shown in the photo above, worked in underground factories which manufactured Messerschmitt airplanes. German engineers and civilians also worked in these factories. The site was chosen because there were natural caves which could be enlarged into tunnels so that the munitions factories could be protected from Allied bombing raids.

Of course, some of the prisoners in these camps died, in spite of the fact that the Nazis tried to keep them alive so that they could work as slave laborers in the factories.

The photo below shows dead bodies at the Gusen sub-camp of Mauthausen.

Dead bodies found in the Gusen sub-camp of Mauthausen

Dead bodies found in the Gusen sub-camp of Mauthausen

After World War II ended, the Allies accused the Nazis of taking prisoners to Mauthausen to kill them in the tunnels of the sub-camps.  I wrote about Ernst Kaltenbrunner’s defense to this charge at the Nuremberg IMT, on this blog post:

On my website, I wrote about the alleged order given by Ernst Kaltenbrunner to kill all the prisoners at Mauthausen and its sub-camps:


June 18, 2014

The Fault in Our Stars movie has scenes showing the Anne Frank house in Amsterdam

Filed under: Holocaust, movies — Tags: , — furtherglory @ 11:04 am

I saw the movie entitled The Fault in Our Stars yesterday.  The movie is fictional, and is based on a 2012 best-selling novel by John Green.

Hazel and Gus, the two main characters in the movie

Hazel and Gus, the two main characters in the movie

The title of the movie comes from a line in Shakespeare’s play Julius Caesar, in which the nobleman Cassius says to Brutus:

“The fault, dear Brutus, is not in our stars,  but in ourselves, that we are underlings.”

In my humble opinion, the movie gets off to a slow start, but improves as it goes along. I thought that the first scenes should have been more dramatic, to get our attention.

I perked up when it was announced in the movie that the two main characters were going to take a trip to Amsterdam. The most famous thing to see in Amsterdam is the Anne Frank house, so naturally I was anxious to see if the movie would include a visit to the house, which is now part of a  Museum.

The Anne Frank house in Amsterdam

The Anne Frank house in Amsterdam

The early scenes in Amsterdam show the area close to the Anne Frank house, but not the house. At first, I thought that the movie was not going to show the house, since it has nothing to do with the plot of the movie. There were scenes showing the canal boats which pass the house, and the church that is near the Anne Frank house is also shown in the background of some scenes.

A canal boat passing the Anne Frank house in Amsterdam

A canal boat passing the Anne Frank house in Amsterdam

I was standing in front of the Anne Frank house, when I took the photo above. Passengers can get off the boat and enter the house, which is now a Museum.

Church that is very near the Anne Frank House

Church that is very near the Anne Frank House

Just when I had given up, and had decided that the Anne Frank house would not be shown in the movie, the two main characters in the movie decide to visit the house.

The entrance into the Anne Frank house is from another house that is next door; visitors must stand in a long line before they can get in. The house next door is shown in the photo below.

House that is next door to the Anne Frank house

House that is next door to the Anne Frank house

Entrance into the Anne Frank Museum is through a modern building at 267 Prinsengracht, which is shown in the photo below.

Entrance into the Anne Frank Museum

Entrance into the Anne Frank Museum

The front door into the Anne Frank house is not open

The front door into the Anne Frank house is not open

Just after Hazel and Gus enter the Anne Frank house, Hazel asks an attendant if she can take the elevator. She is told that there is no elevator, which is a bald-faced lie.  I was also told that there was no elevator when I asked.

The steps up to the attic, where Anne Frank hid, are shown in the movie. These steps are so steep that they should really be called a ladder. Hazel has to drag her oxygen tank with her up the steps.

There are no scenes of the rooms where Anne and her family hid.  Would it have killed them to show the rooms?

The reason that the rooms are not shown is because the Anne Frank house is a money machine.  The Museum rakes in billions (maybe trillions) of dollars by charging admission.  No photos are allowed to be taken, because the Museum wants to sell photos of the rooms. No photos of the rooms can be put on the Internet because the Museum folks will demand that they be taken  down. Don’t even try it.

But to get back to the elevator. The exit from the Museum is through a building next door which has a modern elevator.  Important people are taken up to the attic by this elevator and they enter the Museum through what is the exit for the lowly tourists.

I felt that the movie was disingenuous in telling poor Hazel that she had to climb the steep stairs, dragging her oxygen tank behind her.

The Museum personnel should have come clean and said, “Yes, there is an elevator, but it is only for important people, not for you, Honey. We don’t care if you die while climbing the stairs; you are not good enough to use the elevator.”

May 26, 2014

My review of the HBO movie “The Normal Heart”

Filed under: Health, movies — Tags: , , , , — furtherglory @ 10:49 am

I was frankly disappointed with the movie entitled The Normal Heart, which I saw on TV last night. But my disappointment was due to my own fault.  I wish that I had read up on the plot, before seeing the movie. Then I might have understood it.

I was expecting Jim Parsons, the guy who plays Sheldon Cooper, on the TV show The Big Bang Theory, to be the main star in the movie.  Instead, the main star in the movie is Mark Ruffalo, who plays the part of a gay man named Ned Weeks.  Jim Parsons has a relatively minor part in the movie; he plays the part of a gay man very well, since he is gay in real life.

The Ned Weeks character in the movie is based on the life of Larry Kramer, a gay man who wrote a mostly autobiographical play called The Normal Heart.  The play focused on the rise of the HIV-AIDS crisis in New York City between 1981 and 1984, as seen through the eyes of writer/activist Ned Weeks, the gay Jewish-American founder of a prominent HIV advocacy group.

The movie starts out with a color photo of Liberace, dressed in all his finery, and another photo of his young lover. Liberace was one of the first gay men to die of AIDS. Then we see the date 1981, shown on a large expanse of blue water.  A boat appears on the water, and we learn that the boat is going to Fire Island in New York, where Ned Weeks (Larry Kramer) lives. We learn that Fire Island is a gay Mecca. Then we see an extremely handsome man, to whom Ned Weeks is attracted.

As the movie progresses, this handsome man’s looks are destroyed when he gets “gay cancer,” the early name for AIDS, when the disease was thought to be a new kind of cancer. To his credit, Ned Weeks stands by his man, but the movie soundtrack doesn’t play the song “Stand by your man.”  Instead we hear the Gershwin song, “The man I love.”  The implication is that love between two men is perfectly normal.

Very early in the movie, the Dachau concentration camp and the killing of Jews in Poland is mentioned. No one spoke up about the killing of the Jews, the same way that no one spoke up about gay men dying from a new disease.

I was very surprised that the subject of Dachau was brought up. If I had researched the story, before watching the movie, I would have known that Larry Kramer, upon whose life the movie is based, actually made a trip to Dachau after World War II.  In the movie, the implication is that gay men are now dying needlessly in New York, and no one is speaking up about it.

In the first part of the movie, it is mentioned that half of the cases, of this new disease, are in New York, where there are millions of gay men.  In the movie, it is claimed that the US government is INTENTIONALLY ignoring this new disease, which is affecting only gay men, because government officials would like to see gay men wiped out in America.  The first name, that was given to this new disease, was GRID, which stands for Gay Related Immune Deficiency.

At the end of the movie, we learn that 36 million people have died of AIDS. This includes a large number of men and women, who died of the disease in Africa.  The disease spread around the world because Fire Island, where AIDS started, was visited by gay men from all over the world.

One thing, in the movie, that might be of great interest to the followers of my blog, is the mention of Alan Turing, a gay man who “cracked the Enigma code,” which led to the Allies winning World War II.  The implication is that gay men are no different than straight men, and if the US government allows all the gay men in America to die, there will be no more gay geniuses like Alan Turing.

This quote about Alan Turning is from Wikipedia:

Alan Turing was arrested and came to trial on 31 March 1952, after the police learned of his sexual relationship with a young Manchester man. He made no serious denial or defence, instead telling everyone that he saw no wrong with his actions. He was particularly concerned to be open about his sexuality even in the hard and unsympathetic atmosphere of Manchester engineering. Rather than go to prison he accepted, for the period of a year, injections of oestrogen intended to neutralise his libido. […]

A factor in his life unknown to most around him was that he had also continued to work for GCHQ, the post-war successor to Bletchley Park, on the basis of a personal connection with Alexander, now its director. But since 1948, the conditions of the Cold War, and the alliance with the United States, meant that known homosexuals had become ineligible for security clearance. Turing, now therefore excluded, spoke bitterly of this to his onetime wartime colleague, now MI6 engineer Donald Bayley, but to no other personal friends. State security also seems the likely cause of what he described as another intense crisis in March 1953, involving police searching for a visiting Norwegian who had come to see him. Concern over the foreign contacts of one acquainted with state secrets was understandable, and his holiday in Greece in 1953 could not have been calculated to calm the nerves of security officers.

Although unable to tell his friends about questions of official secrecy, in other ways he actively sought much greater intimacy of expression with them and with a Jungian therapist. Eccentric, solitary, gloomy, vivacious, resigned, angry, eager, dissatisfied — these had always been his ever-varying characteristics, and despite the strength that he showed the world in coping with outrageous fortune, no-one could safely have predicted his future course.

He was found by his cleaner when she came in on 8 June 1954. He had died the day before of cyanide poisoning, a half-eaten apple beside his bed. His mother believed he had accidentally ingested cyanide from his fingers after an amateur chemistry experiment, but it is more credible that he had successfully contrived his death to allow her alone to believe this. The coroner’s verdict was suicide.


February 19, 2014

My answer to a review of The Monuments Men, made by another blogger

Filed under: Germany, movies — Tags: , , , — furtherglory @ 8:36 am

This morning, a comment was made, at 4:20 in the morning, on one of my previous blog posts, by “jenski katie” who did a review of The Monuments Men movie on her own blog at at

Scene from the movie The Monuments Men

Scene from the movie The Monuments Men

This quote is from jenski katie’s review of the movie The Monuments Men:

… As most of these artifacts were for Hitler’s own collection and in some cases they were bestowed to his best officers. The monuments men had to face a lot of difficulties from their forces as well. Whenever they tried to convince the raiding regiment to change their course of attack and hence avoid the unnecessary damage to the artifacts that might come in way they almost always refused to do so. Germans are planning to destroy these relics from history as much as 1000 years old meanwhile the monuments men do not agree with them and they must save the artifacts at all costs. The clock is ticking and the situation is getting worse. Will the monuments men be able to stand their ground?

The Ghent Altarpiece

The Ghent Altarpiece

I did my own review of the movie on Feb. 8th on my blog.  In my review, I said several times that the movie is hard to understand, unless you have read the book, on which the movie is based.  The book is The Monuments Men, Allied Heroes, Nazi Thieves, And The Greatest Treasure Hunt in History by Robert M. Edsel. This quote is from pages 150 and 151 of Edsel’s book:

Hitler knew it was impossible to steal renowned masterpieces on the scale of the Ghent Altarpiece without drawing the condemnation of the world.  While he had the conqueror’s mentality — he believed he was entitled to the spoils of war, and he was determined to have them — Hitler and the Nazis had gone to great lengths to establish new laws and procedures to “legalize” the looting activities that would follow. This included forcing the conquered countries to give him certain works as a term of their surrender. […] In 1940, Hitler […] had commissioned an inventory, later known as the Kümmel Report […]. The inventory listed every work of art in the Western world […] that rightly belonged to Germany. […] …this included every work [of art] taken from Germany since 1500… […] The Ghent Altarpiece was a touchstone and defining emblem of Belgian culture, but to the Nazis it was Germanic enough to belong to them. Even more important, six of the side panels (painted on both sides, representing fourteen scenes) of the Ghent Altarpiece had been owned by the German state prior to 1919.  The Germans had been forced under the terms of the Treaty of Versailles that ended World War I, to give the panels to Belgium as war reparations.

The movie The Monuments Men begins with a picture of the Ghent Altarpiece on the screen.  At that point, it would have been very helpful to explain that part of the Ghent Altarpiece had been owned by the German people for centuries, until Germany was forced to give 6 panels of the Altarpiece to Belgium as war reparations after World War I. But it was not only art treasures that the Germans lost through the Treaty of Versailles, which was forced upon Germany after World War I.  The German people also lost more than half of their country, which was given to Poland and other countries.  The Treaty of Versailles, which was forced upon the Germans, was what led to World War II, so it would have been helpful to mention this at the start of the movie. Instead The Monuments Men movie is all about how the Nazis stole all of the art in Europe and were planning to destroy it.  This movie is not a documentary, but a fictional movie for the masses.

This article, which you can read in full here, agrees with my opinion of the movie, and tells the true story of The Monuments men:

According to Karlsgodt, the depiction of Hitler’s Nero Decree is “oversimplified.” The decree was issued on March 19, 1945 as an attempt to prevent Allied forces from using resources against the Reich during the war. In it, Hitler ordered that “all military, transportation, communications, industrial, and food supply facilities” be destroyed, but it didn’t explicitly include art. In the movie, however, when Stokes reads the decree aloud, he lists “archives and art” among the things set to be destroyed. This, Karlsgodt points out, “enables the plot to move forward,” so that our heroes are “racing against the Germans who are set now to destroy the art if Hitler can’t have it.”

In actuality, Hitler’s will specified that his art go to German museums, “strong evidence” that he didn’t want that art destroyed. Karlsgodt also finds it highly improbable that the Monuments Men even knew about the decree during their mission. “The systematic destruction [as seen in the film] being carried out as a result of the Nero Decree never happened,” she says. “Nazis destroyed art that they considered degenerate, like Cubist, Surrealist, Expressionist paintings, and we know that they burned several thousand—at least—paintings that they thought were actually toxic to the German spirit… [But] they didn’t destroy the art they valued.” (This included Germanic art, and the Ghent Altarpiece depicted in the film, which Hitler considered to be an example of “Aryan genius.”)

Note that the article above mentions that “Nazis destroyed art that they considered degenerate.”  I blogged about degenerate art at

February 11, 2014

From start to finish, The Monuments Men book centers on the story of Harry Ettlinger

Filed under: Dachau, Germany, Holocaust, movies — Tags: , — furtherglory @ 1:12 pm

The movie entitled The Monuments Men is based on a book written by Robert M. Edsel, which was published in 2009. After the “Author’s Note” in the front of the book, there are several pages of photographs of “the Monuments Men,” arranged in alphabetical order.  The second photo shows “Private Harry Ettlinger, U.S. Seventh Army.” The text, accompanying the photo reads: “A German Jew, Ettlinger fled Nazi persecution in 1938 with his family.”

You can read a news article about Harry Ettlinger at  The photo below accompanies the article. Dimitri Leonidas, who plays Harry Ettlinger in the movie, is shown on the far left.

From left, Dimitri Leonidas, John Goodman, George Clooney, Matt Damon and Bob Balaban in “The Monuments Men”

From left to right: Dimitri Leonidas, John Goodman, George Clooney, Matt Damon and Bob Balaban in “The Monuments Men”

Chapter 1 of Robert M. Edsel’s book is entitled “Out of Germany, Karlsruhe, Germany 1715 to 1938.”  The information in this chapter is about how “a Jewish congregation was established in [the city of ] Karlsruhe” in 1715.

In Chapter 1, we learn that, in 1800 “inhabitants of Germany became legally obligated to take a surname.” A Jew named Seligmann had emigrated to Karlsruhe from Ettlingen, a nearby town where his family had lived since 1600.  Seligmann took the surname Ettlinger; Harry Ettlinger is one of his descendents.

The purpose of Chapter 1, in Edsel’s book, is to establish that the Jews were Germans, who had a right to live in Germany.  The Nazis were wrong to persecute the Jews, who belonged in Germany. The Nazis were wrong to take the possessions of the Jews, especially the art that belonged to the Jews.

On page 10 of Edsel’s book, we learn that Harry Ettlinger’s maternal grandfather, Opa Oppenheimer, had an “art collection [which] contained almost two thousand prints, private ex libris bookplates and works by minor German Impressionists working in the late 1890s and early 1900s. One of the best was a print, made by a local artist, of the self-portrait by Rembrandt that hung in the Karlsruhe museum. […] In 1933, [after Hitler came to power] the museum had barred entry to Jews.”

According to Edsel’s book, the Ettlinger family left Germany in 1938, arriving in New York on October 9, 1938.  Exactly one month later, the event known as the “night of broken glass” [Kristallnacht] occurred.

This quote is from Edsel’s book:

The Jewish men of Karlsruhe were rounded up and put in the nearby Dachau internment camp. […] The magnificent hundred-year-old Konenstrasse Synagogue, where only weeks before Heinz Ludwig Chaim [Harry] Ettlinger had celebrated his bar mitzvah, was burned to the ground.  Harry Ettlinger was the last boy ever to have his bar mitzvah ceremony in the old synagogue of Karlsruhe.

But this story isn’t about the Kronenstrasse Synagogue, the internment camp at Dachau, or even the Holocaust against the Jews. It is about a different act of negation and aggression Hitler perpetrated on the people and nations of Europe: his war on culture. For when Private Harry Ettlinger, U.S. Army, finally returned to Karlsruhe, it wasn’t to search for his lost relatives or the remains of his community; it was to determine the fate of another aspect of his heritage stripped away by the Nazi regime: his grandfather’s beloved art collection. In the process he would discover, buried six hundred feet underground, something he had always known but never expected to see: the Rembrandt of Karlsruhe.

Harry Ettlinger was one of the Mountain Men

Harry Ettlinger looks at the picture that his grandfather owned

This quote is from pages 533 and 534, the last two pages in Edsel’s book:

… Harry learned another story about the mines in Heilbronn and Kochendorf.

In the Kochendorf mine, one or more chambers had been designed as secret manufacturing centers for the mass production of a crucial Nazi invention: the jet engine. […] The physical work at the mine, such as the expansion of the underground chambers, had been performed by fifteen hundred Hungarian Jewish slave laborers sent from Auschwitz to Germany. In September 1944, the British bombed Heilbronn to smithereens… […] As the roar of the planes retreated, a chant rose mysteriously from the black belly of the mine. […] It was Yom Kippur, the Day of Atonement, and the Hungarian Jews were chanting the prayer of Kol Nidre.  […] In March 1945, less than a month before the arrival of the Americans, the slave laborers were shipped to Dachau.  Most of them froze to death during the five-day journey. The others were sent directly to the gas chamber.

The Monuments Men movie should have stuck to the story in the book by the same name, and featured Harry Ettlinger, because the book was about the Jews who were persecuted by the Nazis and stripped of their possessions, then sent to the gas chamber at Dachau.

As for the statement, in Edsel’s book, that the Hungarian Jews were sent directly to the gas chamber at Dachau, here is what really happened: According to a book published by the US Seventh Army immediately after the war, entitled Dachau Liberated, The Official Report by The U.S. Seventh Army, there was a total of 29,138 Jews brought to Dachau from other camps between June 20, 1944 and November 23, 1944.

The Official Report says that these Jews were brought to Dachau to be executed and that they were gassed in the gas chamber disguised as a shower room and also in the four smaller gas chambers, which the staff at the Dachau Memorial Site now claims were delousing chambers.

By November 1945, it was known that the 29,138 Jews brought to Dachau from other camps between June 20, 1944 and November 23, 1944 had been transferred to the eleven Kaufering sub-camps of Dachau to work in munitions factories and had not been gassed in the five gas chambers at Dachau, as stated in the Official Army Report that was written within days after the camp was liberated.

Contrary to what is stated in Edsel’s book, the Hungarian Jews who were working in the mines in Germany were not sent to the gas chamber at Dachau.

« Newer PostsOlder Posts »

The Silver is the New Black Theme. Blog at


Get every new post delivered to your Inbox.

Join 331 other followers