J'ai trahi Hitler

Wolfgang Staudte fervently condemned the disinterested bourgeois who is not at all committed and hesitantly validates his standpoint. Rotation shows the dangers such an unbiased civilian is to compelled to confront.The film concentrates much on the past as key events are shown in a flashback.It showed how high unemployment in Germany resulted in Hitler's rise to power.Staudte has astutely shown a distressed Germany in which young Germans were trained by Nazis and everyone was taught to obey Hitler.Behnke recalls effectively all the difficult times he had to endure.He is happy to have a kid but can hardly imagine that his own child would betray him.Behnke was yearning for a serene Germany where his family would flourish.His generosity of spirit is revealed as he accepts his son without any feeling of hatred.After the war,Behnke family witnesses a sign of reconciliation as the father pardons his guilt-ridden son.

Following Germany's surrender Wolfgang Staudte found himself in the Eastern sector and despite having participated in films of the Third Reich his services were utilised by DEFA the state-run film studio. As a means of 'working through' his guilt and presumably to please his new employers he directed 'The Murderers are among us' and 'Rotation' both of which depict the true horrors of Nazism. The latter film focuses on labourer Hans Bencke, his wife Charlotte and their son Helmuth. As one of the mass of unemployed he understandably regards National Socialism as a blessing and joins the Party in order to support his family while believing that he can remain 'non-political'. As years pass he realises that the blessing has become a curse and that he can no longer be impartial. Life becomes still more complicated when his teenage son joins the Hitler Youth....... This is a masterpiece of film-making that grips one from the outset. Ironically it is shot by Bruno Mondi, indisputably one of the greatest cinematographers of all, whose collaborations with the demonised director Veit Harlan did not prevent his becoming DEFA's chief cameraman. The characters are well-drawn and the extensive use of close-ups, notably those of Paul Esser as Bencke, serve to heighten our involvement. The editing by Lilian Seng is exceptional, especially the scene of the underground shelter being flooded whilst the closing scene is no less dramatic for being understated. The final words should be left to a critic of the time who wrote:'This film shows how it really was'.