The film director tried to make the story of Lída Baarová a great film, but apart from the money spent, he did not succeed in this task at all. However, the below-average biographical film in public space recalled the unique and controversial relationship between the powerful Nazi and the beautiful Czech actress. The documentary filmmaker has a much more successful film work at the end Helena Třeštíková, who filmed with Lída Baarová in person during her emigration to Austria. Although Goebbels and Baar is still the only essential element for our country, there is a reason why the connection often visited Prague. For what reason?
Joseph Goebbels’ position was very high in the Nazi hierarchy. I was in charge of the propaganda of Adolf Hitler’s perverted ideology. In his case, it was not just fiery speeches, thoughtful posters, a political program and strategies to persuade the occupied countries to collaborate.
One of the important elements in ensuring loyalty in the Nazi countries was the power of cinema. The film was just the reason why Goebbels fell in love with the aforementioned Lída Baarová. The second man of the empire pushed her acting talent into the biggest film hits of the German film company UFA. The Imperial Minister of Propaganda also recognized the talent of other filmmakers from Czechoslovakia, including the Protectorate of Bohemia and Moravia at the time.
Barrandov studios and trick studio
Of course, Goebbels could not overlook what Miloš Havel failed to build in Barrandov, and also since the Nazi regime in our territory, Havel has been under pressure to sell 51% of its stake in Barrandov’s studios. He refused even though he was threatened with a concentration camp. In the end, an agreement came and Havel was able to make five Czech films a year and really sold his share.
Goebbels’ intention was clear. Take advantage of world-class Czech filmmakers, as well as equipment and premises in Prague. He focused mainly on film animators, and thus on a well-built animation base in Zlín. However, the Nazis take a look at the Studio of Film Tricks in Štěpánská Street.
Goebbels planned to create competition in the protectorate for Walt Disney in the USA, which he also succeeded in, but the development of the war did not allow him to complete this plan, which no one except the fanatical Nazis certainly regretted. Probably the most successful example of a large investment and plans in trick and animation is the film Wedding in the Coral Sea from 1944.
By the end of the war, Czech animators, led by the Austrian Horst von Möllendorf, had made two more films: The Naughty Bunny and the Weather House. The paradox of the whole situation is the fact that the trick studio changed under cooperation in May 12, 1945 Jiří Šebestík, Eduard Hofman, Bohuslav Šrámek and Jaroslav Kándelwho started calling themselves the Brothers in Trick. Even during the Protectorate, we managed to grow into personalities that we perceive today as the most important figures of the Czechoslovak animation school, such as Karel Zeman, Hermína Týrlová and especially Jiří Trnka.
Goebbels traveled to Prague not only for his lover, but also to develop propaganda that was to compete with Walt Disney himself. In a way, however, he technologically helped build the background for independent Czechoslovak animated works. Three slightly propaganda fairy tales were undoubtedly worth it.
Source: Diploma thesis, CZECH CINEMATOGRAPHY IN 1939–1945 Tereza Laipertová
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