The Movies You Did Nazi

So you’ve probably seen some of these but for the sake of the Nazi/not-see pun I ran with the title.

Nazis make great villains. They’re easy to spot, easy to pinpoint in history, and easy to hate. From Raiders of the Lost Ark to Shock Waves (Peter Cushing plays a Nazi zombie in that one), it’s always been easy to hate these guys. Nobody’s going to forget Christolph Waltz’s performance in Inglourious Basterds anytime soon. In eager anticipation of the new movie Iron Sky (2012)—where Nazis on a secret moon-base prepare to attack earth in space zeppelins (Gingrich, you fool!!!)—I am reminded of other some Nazis that made it to a ripe old age to be bad guys for a younger generation.

Marathon Man (1976), directed by John Schlesinger (Midnight Cowboy), is a pretty famous one, but I am surprised by the number of people who still haven’t seen it. It’s back when Dustin Hoffman was the hottest ticket in town, but the real reason to watch the film is the menace of the evil Nazi, Dr. Szell, played by the illustrious Laurence Olivier (Sleuth, Rebecca, Spartacus). I won’t waste time with the intricacies of the wonderfully thrilling plot, but the several scenes that make this movie famous should be good enough for anybody. An incognito Dr. Szell being recognized by Jewish Holocaust survivors in New York City as he tries to get his precious diamonds appraised is a fantastic bit of cinematic suspense. This scene was also spoofed in an episode of Seinfeld. Then there’s the infamous dentist sequence in which Olivier tortures Hoffman with dental equipment. He’s a Nazi AND a dentist? Can this guy get more evil? Oh, he just murdered those innocent bystanders.

“Is it safe?”

Laurence Olivier appeared in another 70s Nazi movie, only this time as an old Jewish man trying to solve a mystery in The Boys From Brazil (1978). Franklin J. Schaffner (Planet of the Apes, Patton) directs this sort of loopy conspiracy theory plot about geriatric Nazis stuck in South America (much like Szell). The Nazis are played by James Mason (Lolita, 20,000 Leagues Under the Sea) and Gregory Peck (Captain Horatio Hornblower, The Guns of Navarone). That’s right. Peck. Gregory Peck plays a Nazi. Not only that but he’s supposed to be Dr. Josef Mengele! Atticus Finch is Mengele in this movie!

I say this movie is a little loopy because it centers around Peck and Mason making dozens of clones of Adolf Hitler and planting them all around the world, strategically re-staging all the original Hitler’s boyhood traumas (nature vs. nurture schtick). The idea of old men living in the jungle hatching a convoluted plot to make an army of Hitlers is, well, just kinda nuts. As far as conspiracy theory flicks go, Capricorn 1 was probably better, but I like The Boys from Brazil more just because it’s so weird. Detective Yiddish Olivier is also a fun plot element. As a Holocaust survivor he’s got to settle the score. He has a personal stake in all of this. It’s a fun, hokey movie with science gone wild and some dog attacks. Steve Guttenberg (Police Academy) is also in it, but he gets killed off pretty quick.

Stanley Kramer (Inherit the WindHigh Noon) has produced and directed many films about race relations and important political issues and while Pressure Point (1962) might not stack up so well next to The Defiant Ones or Guess Who’s Coming to Dinner, it’s a decent flick all the same. The main feature was directed by Hubert Cornfield. The great Sidney Poitier (SneakersIn the Heat of the Night) plays an unflinching psychiatrist who must get to the bottom of why a racist American Nazi (played by Bobby Darin) keeps having nightmares. The film is a little awkward—I chiefly blame the bookend cliche of the “That reminds me of the time when…” conceit, but the movie as a whole is not a total waste of time. Poitier and Darin are both very good and there are some truly surreal sequences that try to delve into the psyche of the patient. Grown men trying to climb out of sinks, voices emerging out of the wrong mouths, swinging meat, pipes that turn into knives, and a game of tic-tac-to that gets more than a little out of hand are all some of the fascinating images you will take away from this otherwise fairly forgettable movie. The cinematography is pretty solid all around.

Peter Falk (Murder by Death, Wings of Desire) also has a brief appearance and is credited as being a ‘special guest star.’ I never understood having ‘special guest star’ for a movie. Like they don’t normally star in this movie but here they are. Pressure Point is a little stagey, but well acted and some memorably weird sequences. It reminded me vaguely of The Manchurian Candidate (1962).

Really quick shout out to John Landis’s The Blues Brothers (1980). Let’s face it, this movie is an overlong and gloriously bombastic tribute to great blues musicians and wild car chases. Dan Aykroyd (Ghostbusters) and John Belushi (Animal House) and a host of awesome comedy and blues cameos make this John Landis (An American Werewolf in London) flick a classic, but don’t forget Henry Gibson (Magnolia) as an uptight neo-Nazi out for revenge against the Blues Brothers for wrecking their Skokie-like protest (all before Danny Kaye did Skokie for TV too). The cops, hillbillies, crazed flame-torch wielding exes, the army, and everybody else was chasing the Blues Brothers, why not Nazis too? I especially love their homosexual confession as they plummet to their deaths.

The Man in the Iron Mask with Leonardo DiCaprio. The Man in the White Suit with Alec Guinness. The Man in the Gray Flannel Suit with Gregory Peck. The Man in the Moon with Jim Carrey. How about The Man in the Glass Booth with Maximilian Schell? Schell (The Black Hole, Topkapi) was the defense attorney in Stanley Kramer’s Judgement at Nuremberg (1961), but it is his captivating and manic performance as Arthur Goldman in Arthur Hiller’s The Man in the Glass Booth (1975) that really caught my attention. I can only say Hiller (The Out of Towners, Silver Streak) directed it because it is Schell’s performance that makes it. This is such a bizarre and interesting film. Maximilian Schell plays a wealthy eccentric Holocaust survivor living in luxury in New York City. Prone to both irreverent outbursts critical of religion and flashback spells that make him temporarily catatonic, Arthur Goldman is a strange persona indeed, but he just gets stranger. When a group of Israelis kidnap him with the intent of putting him on trial for war crimes (they believe Goldman to be a falsified alias), Goldman goes totally berserk, but not in the way you might expect. He completely shifts personas and becomes the Nazi war criminal he is accused of being. He insists on defending himself and that he be allowed to wear his Nazi uniform. The idiosyncratic Jewish New Yorker and Holocaust survivor metamorphosizes, without batting an eye, into a barking Nazi lunatic with total devotion to the extinct Cause. During the wild trial Goldman must be kept in a glass booth to keep his offensive testimonies and unhinged craziness in check. When it appears that much of the evidence against Goldman is forged (and by Goldman himself) the Jewish court has to re-evaluate everything. The audience is confused too. Who has he been fooling and why? We knew Goldman was nuts but which persona was his fake one? It’s not as clear as we once thought. This is a fascinating and bizarre film that really resonated with me. It’s been weeks and I still can’t shake it. Is it the story of post-war trauma or Jewish guilt? Is it Schell’s insane Oscar-nominated performance? Is it the chilling final minutes? I don’t know, but I can say that despite the film’s cinematic shortcomings I would recommend it.

Interestingly, The Man in the Glass Booth was also based on a novel written by the great Robert Shaw (Jaws, The Sting) who also played a Nazi himself in Battle of the Bulge (1965) opposite Henry Fonda (12 Angry Men).

Nearly 70 years after the war and Nazis are still iconic screen villains. Sometimes serious (Schindler’s List), sometimes silly (Dead Snow), but always recognizable. If you are looking for some truly different films about Nazis check out some of the titles I’ve mentioned in this article. Some of these should be fairly easy to come by because they’re so famous (Marathon Man, The Blues Brothers), but I would encourage you to check out the others as they offer something much more offbeat than your typical fair.

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