Hitler's S.S.: Portrait in Evil

Hitler's SS: Portrait in Evil tells the story of this para-military force. the personal enforcement arm of Adolph Hitler in the Nazi movement and the Hoffman brothers and their connections.

Bill Nighy is the cleverer of the two brothers, recognizing the Nazi Party as the coming force in Germany in 1931 and decides to join this elite group. His brother John Shea likes a good time which includes a brawl every now and then. The SA under Ernest Roehm seems like his place in the Nazi movement.

Well we all know what happened to Roehm as his ambitions began to exceed even Hitler's. Shea gets himself tossed into Dachau for a little Nazi style rehabilitation. During the Thirties before the war, places like Dachau were not yet the systematic slaughter camps they later became. Shea eventually is released and is drafted into the army.

In the meantime Nighy becomes an upwardly mobile guy in the S.S. and a special favorite of Reinhard Heydrich, very chillingly played by David Warner.

Through all this Carroll Baker their mother worries about her boys. She's never been crazy about the Nazi movement, she sees what it's doing to Germany and her family. She's most of all concerned with her youngest son who is played by three different juvenile actors who is an enthusiastic member of the Hitler Youth.

What becomes of the Hoffman family is a tale tragically told many times over in Germany of that period. In this most British cast film, Tony Randall as a German comedian with trenchant observations of the time and Jose Ferrer as a Jewish professor have two excellent cameo roles.

No new ground is broken here, but this is a story that deserves retelling thousands of times over.

This was a rather good film. It artfully tells the story of the days just after the Nazi "Machtergreifung", and the power struggle between Himmler's SS (with Heydrich's SD an important part) and Ernst Röhm's SA, through the Hoffman family. Karl, a seeming true-blue National Socialist, joins the SA. His brother Helmut, an opportunist, joins the SS for career advancement, and deluding himself into believing that by being in the SS, he could "Do good on the inside".

This film does an excellent job in examining the motivations of Nazis, and of human feelings through Karl and Helmut's sibling rivalry. The acting was excellent, featuring Jose Ferrer as Helmut's old teacher, who is a Jew. However, I found the actress playing Mitzi to be repulsively vacuous. Tony Randall's cameo appearance was brilliant, among others.

Where this film fails is that it tries to do too much. Ity tries far too hard to address every issue involved in discussing the Third Reich, from Anti-Semitism, to the cause of the war, to the Hitler Youth, to propaganda, and so forth. This causes much superficiality, so that none of these topics is thoroughly addressed. The largest strength to this film, is that it so bravely and accurately portrays a historic episode, known as the Night of the Long Knives, in which Hitler has Röhm, and his SA leadership killed, presumably because they were planning a Putsch against Hitler. It re-examines an old issue, and it does it cunningly.

Handsomely produced TV film is an ambitious project in that it follows the rise of the Third Reich while telling the story of a German family, in particular, two brothers (BILL NIGHY and JOHN SHEA) who are swept into the wartime problems when the oldest joins the SS in 1931 and becomes a good Nazi (until he sees the scope of the horror) and the other eventually joins because he's under the illusion that he can change things from the inside.

Although it covers a span of '33 to '45, none of the actors age noticeably, the one weakness in an otherwise carefully detailed production.

This is not the first time this sort of subject has been handled. A less epic, more narrowly focused melodrama of two brothers with opposing viewpoints was made in the 1940s (UNDERGROUND - 1941) with JEFFREY LYNN and PHILIP DORN as German brothers taking opposite viewpoints of the wartime philosophy and directed by Vincent Sherman. Although it was a well done melodrama, it did not attempt to get the full flavor of the Third Reich and its various operations as this film does.

JOHN SHEA is especially impressive as the brother who speaks his mind against some of the Nazi practices and at one point even ends up for awhile in Dachau, the concentration camp. The other brother manages to get him released but there are still many trials and tribulations for both of them before the film reaches a dramatic climax. CARROL BAKER does a nice job as a worried German mother.

David WARNER is impressive as Reinhard Heydrich, the sarcastic and brutal Nazi officer who gets his comeuppance before the war is over. All of the performances are first rate and the story covers a good deal of actual history without ever losing track of its main characters.

Absorbing stuff, lengthy, but well worth watching.

at first sigh + a sketch about Nazi history . at the second - an inspired remember about birth and fall of a regime, about the touch of politics against family, about ideal and truth. it is not a movie for history fans and it is not the Schindler List. it could be an introduction to a large theme but, in same measure, slice of good acting. because it present in different manner the spirit of a period. and that fact is a good job. it introduce the viewer in the heart of evil not very convincing in many scenes but useful. and that fact is real important for understand a machine of power. Bill Naghy seems be a kind of clone of Peter O'Toole in the Night of Generals and this fact is an interesting detail. John Shea use a special experience who gives to role a nice game of nuances. Jose Ferrer is himself. and , without be a great movie, it is an useful remember.

in a long list of films about Nazi Germany, this movie seems be an exception. first because it is story of people, seduced, proud, discovering the truth and the fall of a regime who, for a time, was the image of personal success. sure, the critics are many about it. because its ambition is to be a large fresco of a dictatorship. and an embroidery with too many motifs. because it use stereotypes who , not always, are real convincing. because , after its end, you feel something missing. but it is an interesting trip in the essence of the perceptions about a dictatorship. and this virtue remains not insignificant.