Hitler's SS: Portrait in Evil

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.

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.

In order to understand and appreciate "Hitler's SS: Portrait in Evil" I should probably explain the context for this made for TV movie. Back in the years before the Nazis took control of Germany, the devoted followers of the party often joined the SA, also known as the 'Brown Shirts' because of their uniforms. These were the enforcers of the party....crazed Nazis who were not averse from using violence or even killing to further their cause. They helped Hitler and the Nazis rise to power by 1933 and were organized thugs. In its prime the SA was huge....and loyal to the gay leader of the organization, Ernst Röhm. But Hitler felt Röhm posed a threat to his power and ordered the smaller but more ruthless SS to depose Röhm and the rest of the leaders of the SA. Certainly the SS was evil (as well as being the architects and foot soldiers who instituted the 'final solution'), but the SA wasn't exactly a group of boy scouts....they were vicious thugs...just not as well organized or quite as ruthless as the SS.

When the story begins, you see that two brothers gravitate towards joining the SA (John Shea) and SS (Bill Nighy). Now Karl (Shea) didn't make a lot of sense...he was not a violent or vicious person yet he joined the SA...but Helmut (Nighy) was a better fit with the SS as he craved power and money. Ultimately, you KNOW that their being on different sides in the struggle for power will ultimately lead to problems....but what exactly you'll have to see for yourself.

This story is not one about the 'good brother and bad brother'. It's not a struggle over good and evil...it's a struggle for power. This is a subject you rarely hear about in films or even documentaries..and it does represent an amazing period in German history.

So is it worth watching? Well, it is well made and quite interesting...and makes an interesting accompaniment if you first watch the mini series "Holocaust" or a documentary about the Nazis circa 1932-1934. The acting and costumes are quite good as well. My only major is that the film makes the SA look a lot nicer than they were...and it's hard to imagine a nice guy like Karl even fitting in with these degenerates. A minor complaint is that the film might have benefited from some editing, as it does drag a bit in spots and the latter portion seemed a bit episodic.

It is the early 1930's, and the Nazis are gaining power in Germany. The young, unemployed Karl Hoffman is enthusiastic about the party, readily joining the SA. His brother Helmut, a university student, is more wary, but after meeting Reinhard Heydrich, is seduced into joining the SS. As time marches on, Helmut's star rises, while Karl loses faith in the machine of fascism, particularly after the Night of the Long Knives. Amidst the horrors of war and Hitler's murderous reign, can the brothers' relationship- and they themselves- survive?

Directed by Jim Goddard from a Lukas Heller screenplay, 'Hitler's SS: Portrait in Evil' is a well-intentioned, but fairly rote made for TV movie suffering from a dull narrative and stilted dialogue. Heller's linear tale charts the rise and fall- not just of the Hoffman brothers- but of the Third Reich, feeling at times like a drab recital from a history book. The affair lacks emotional depth, as well as natural dialogue and impactful characterisation. One has no reason to care for either of the brothers, nor any of the secondary characters, and Heller's attempts to balance historical accuracy with engaging storytelling proves challenging, resulting in an overly didactic piece.

As a chronicle of history, the film works quite well, despite creative licence taken here and there, leading to inaccuracies. Heller's representation of Nazi-era Germany as a hotbed of varying political ideas, as well as the juxtaposition of the SS verses the SA and the Wehrmacht, is mostly on point, making for some interesting moments. However, as a piece of fictional storytelling, attempting to examine themes such as nationalism and brotherhood, as well as how a nation fell under the spell of fascism, the film falls short. In addition, a love triangle sub-plot adds nothing to the piece but more minutes to the runtime.

Furthermore, Ernest Vincze's cinematography does little to aid proceedings. He opts for a very conventional approach, without stylizations or tension-building techniques, such as irregular angles or creative framing, which would have compounded the film's emotional weight. Although he captures the fascist rallies and smoky interiors of the bierkellers effectively, his work is not memorable, nor powerful.

Moreover, Richard Hartley's overly romantic score seems to have been written for a different film entirely. His cloyingly mournful melodies would be more appropriate in an adaptation of a Jilly Cooper dime-store novel; set against the horrors of the Third Reich they seem utterly out of place. Conversely, Eileen Diss and Mike Porter's production design appears faithful to the period, while Elizabeth Waller's costumes carry the weight of authenticity. Although perhaps everything is a bit too clean, the overall visual effect is one of realism.

Bill Nighy and John Shea star as Helmut and Karl Hoffman, respectively, opposite a large cast of well-known performers. Nighy does fine work as Helmut, creating in him a cynical, morally ambiguous character one could imagine rising through the ranks of the SS. On the other hand, Shea opts for a more straightforward approach, playing Karl as a good man; lacking the intrigue, nuance and complexity Nighy fosters.

The supporting cast are a veritable who's who of Hollywood, some of whom do strong work. David Warner is particularly good as the sinister Reinhard Heidrich, a role he played before in Marvin J. Chomsky's far-more effective 'Holocaust.' Lucy Gutteridge does what is required with the under-written role of Mitzi, a nightclub singer, though doesn't make much of an impression. In addition, José Ferrer and Tony Randall bring a gravitas to their all too small roles as a Jewish professor and a doomed comedian.

A straightforward made for TV movie about a fascinating point in history, Jim Goddard's 'Hitler's SS: Portrait in Evil' is a fairly mundane piece of work. The narrative is underwhelming and the dialogue is stilted, although the production design is fairly authentic. While Bill Nighy and some of the supporting cast do strong work, John Shea underwhelms and the cinematography lacks creativity. Unfortunately, 'Hitler's SS: Portrait in Evil' is ultimately a portrait in mediocrity.

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.