Les Damnés

Visconti's bizarre examination of a powerful and wealthy family whose downfall both parallels the rise and foreshadows the fall of the Third Reich is never less than entertaining, it has to be said. Certainly not to the tastes of all, it seems to revel in the decadence and debauchery it portrays in much the same way a tabloid paper feels it has to publish dozens of photographs of the pornography it pretends to condemn. Look how depraved these incestuous cross-dressing Nazis were; apart from one pious voice the whole nation, it seems, is condemned with one broad stroke and we are given no contrast against which to compare such depravity.

The characters of the Von Essenbach family are each representative of a facet of 30s German character, all joined in a desire for power or the need to be protected beneath its wing, prone to making strident and unyielding demands and dismissing the rights of those who stand in their way. This leaves us with a morally repugnant lot, none of whom we can empathise with, and also tempts the cast to overact at times. Ingrid Thulin is particularly guilty, and even the usually laconic Dirk Bogarde becomes overwrought at times.

For all these faults, the film is shamelessly entertaining and fascinating to watch. It plays like a Shakespearian tragedy at times, and you feel compelled to see it through to the end just to find out the fate of each character.

The Damned tells the story about the Nazi consolidation of power from the Reichstag fire of 1933 through the famous Night Of The Long Knives purge in 1934 as seen through the eyes of a prominent German industrial family, the Von Essenbachs. The Von Essenbachs are a Prussian Junker clan who survived World War I with fortune intact. They are a munitions manufacturing outfit based on the real life Krupps and in order to survive the Great Depression and the coming Nazi preventive counterrevolution they make a deal with the new Third Reich.

As we know from history the Nazis manufactured an incident with the famous Reichstag fire to spread fear and create the climate for the new Chancellor Adolph Hitler to assume dictatorial powers. The next year was a struggle for power within the Nazi movement as well as the country. The Von Essenbachs have their own power struggles with in the family that parallel the Nazis and the country.

Luchino Visconti based some of his characters on some real life German personalities of the day. Dirk Bogarde is based on Hjalmar Schacht the finance minister who in fact was a technician and who did in fact play a large role in German recovery from the Depression. Bogarde is a new man brought in to reorganize the munitions factory and who like Schacht thinks he can ride the tiger.

Swedish actress Ingrid Thulin plays the daughter of the patriarch of the clan Albrecht Schoenhals. She's one vicious woman who has bought completely into the Nazi ideology. I believe she's based on Joseph Goebbels wife Magda, one of the most terrifying women in history. Though the two of them indulged in many affairs, they were committed partners in support of Hitler. Magda Goebbels was a woman who along with her husband so couldn't stand the thought of Germany losing World War II and her children living under Russian/Slavic occupation that she and Joe killed their seven kids as well as themselves. One of the sickest people in history and I can definitely see Thulin doing the same thing in the same circumstances.

The Damned was nominated for an Oscar in 1969 for Best Original Screenplay, it lost to the more popular Butch Cassidy And The Sundance Kid. As much as I like Newman and Redford this story is far better. Sadly this was the only nomination for the film, incredibly not even nominated for Best Foreign Film.

As Visconti states in the film Nazism may have been born with Hitler and discontented veterans of World War I, but it was incubated in the factories of Germany during the Great Depression. It was fed to the workers by the owners who were in terror of a Communist revolution. In many ways the Nazi takeover was a preemptive strike against that occurring, but it was a horrible price.

it is the precise reflection of Visconti obsessions. in direct manner. using the aestheticism at the last consequences. and the perfect actors. like silhouettes of a decadent survive form. after its end, the only memory is the powerful flavors. and the scene of the massacre. and Helmuth Berger like more than Ludwig. and, sure, the portrait of mother by Ingrid Thulin. a film like embroidery of symbols and slices of nightmares. or, a form of exorcism. impressive scene by scene. as fall of a world.

Visconti outdid himself on this one! In 'The Damned' we take a long look into the dark world of a perverted German family during Hitler's rise to power. Little bit of everything in this one; treachery, murder, incest, molestation... nothing pretty here, but a fantastic story. Well told and nicely photographed, The Damned is not for the squeamish, but very much worth a look.

The first chapter in Lucino Visconti's trilogy of "German Decadence", "The Damned" ("Götterdämmerung"), 1969 is a deep and heavy drama; or rather tragedy with many references to Shakespearean and ancient tragedies themes. The film follows a German rich industrialist family, the munitions manufacturers (possibly modeled after Germany's Krupp family) who attempts to keep their power during the rise of Nazism regime. It takes place from the night of the Reichstag fire when the Von Essenbecks have gathered in celebration of the patriarch Joachim's birthday to their eventual downfall ("The Fall of Gods" is the film's Italian title) shortly after the Night of Long Knives.

A Marxist and an aristocrat, Visconti was both repelled by and drawn to the decaying society that he depicts in impressive and loving details and often in a flamboyant style - the examples are the scene with Helmut Berger impersonating Marlene Dietrich's Lola-Lola "Blue Angel", the beer party, the orgy and following them massacre during the "Night of Long Knives".

Both film's titles, "The Damned" and "The Fall of the Gods" prepare us for entering the gates of Inferno - "Abandon hope all ye who enter here". The characters we met, the members of the respected and famous family are "Fallen Gods" and they are ready to take the eternal damnation of their souls in the exchange for Power which is above money, love or any human feelings. The weakest and tender will vanish; the most unscrupulous, merciless, backstabbing, hating and cruel will celebrate on this feast during the time of plague.

The acting is very impressive by all members of a fine international cast that includes Ingrid Thulin, Dirk Bogarde, Charlotte Rampling, Renaud Verley, Umberto Orsini and Helmut Berger. I just want to say couple of words about Ingrid Thulin (Baroness Sophie, the widowed daughter in law of a steel baron Joachim) and Helmut Berger as her son, Martin. I've never seen Ingrid Thulin as beautiful, desirable yet wicked and evil as the German Lady Macbeth/Queen Gertrude/Agrippina the Younger. I dare say that I like her in Visconti's film better than in Bergman's films that made her world famous. Helmut Berger was born to play Martin - immoral, corrupted, and bad to the bone playboy-pedophile Hamlet/Nero in Nazi uniform yet at some point strangely sympathetic. And was he pretty as Lola-Lola :).

8/10