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315:, "Ritter portrayed the enemy in such a transparent and unreal way that even German cinema audiences failed to be convinced.... he actors' wildly exaggerated gestures are totally unconvincing". He regards the portrayal of the torturers as so ridden with "simplistic that the propaganda loses all credibility".) Karsten Witte summed him up in his overview, which was first published in 1993, as someone who "directed bad action films on a conveyor belt". Rainer Rother wrote in his 2003 study of
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individual—all that is personal must be given up for our cause". He called his propaganda films "pictorial armored car" which formed a "first line of the propaganda front" while "the rest" (entertainment films) he relegated to behind the lines. When officers in the military queried the wisdom of the strategy depicted in
294:, Ritter's films are characteristically fast-moving and episodic. He prepared them in detail using storyboards. He also tends to rowdy humour; in his diary, Goebbels wrote that Ritter "makes nationalistic points with a lack of inhibition that would make others blush" but also noted his heavy touch, writing of
168:
in which an entire infantry column chooses a heroic death to take the enemy with them in a hail of artillery fire, he responded, "I want to show the German youth that senseless, sacrificial death has its moral value". The
Propaganda Ministry dismissed the radio play with which the military attempted
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wrote: "If Karl Ritter had had better screenplays... and if he had been more aware of the dangers of declamatory dialogue, his works would have gained immensely. They are lively and usually interesting but lack artistic profundity. They never go beyond rather loud, importunate propaganda". John
163:
Ritter himself clearly outlined his purpose as a film maker in terms of Nazi ideology: "The path of German films will lead without any compromise to the conclusion that every movie must stay in the service of our community, of nation and our FĂĽhrer." "My movies deal with the unimportance of the
298:(1940): "Ritter is not suited to subtle psychological portrayal. He is more for hearty things". As a result, he is not highly regarded today. David Stewart Hull, in his 1969 overview of Nazi films, characterised Ritter's work as "heavy-handed and extremely talky" and described
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in April 1941: "The ultimate purpose of all
National Socialist films is to show the test of an individual within the community—for the individual's fate only has meaning when it can be placed at the service of the
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of "pure inability" and "lack of artistic sensibility". At the time, however, most of Ritter's films were successful. He was "one of the best known and best paid directors in the Third Reich". The Polish film historian
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a compliment: "The technical work is less slap-dash than usual and the acting considerably above Ritter's usual low level". (In contrast, David Welch, in his 1983 study of German film propaganda, states that in
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1406:: "The subject matter ... follows a new pattern which Ritter was to employ in later works, the use of numerous episodes and scenes ... to paint a vast mural of his subject."
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After the war, he studied architecture, worked as a graphic artist and entered the film industry in 1926 as a public relations manager at SĂĽdfilm, where he edited a book of
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as "the best thing we ever seen"; and his series of World War II films constitute the "apogee" of the Nazi war film. However, when events overtook them, one of his films,
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when the promise of land in the East for German settlers became hollow (and when the German forces had to withdraw from North Africa, a major setting of the film) and
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57:; his mother was an opera singer. He was a career officer in the German military, built his own aeroplane and earned a pilot's licence in 1911 {#121}, and in
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218:, the chamber governing the film industry; a position as a cultural senator; and, in honour of Hitler's 50th birthday in 1939, a professorship. He was on
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among other important Nazi propaganda films. His directorial work for the regime includes entertainment films imitating
Hollywood productions like
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1938, cited in translation in John
Altmann, "The Technique and Content of Hitler's War Propaganda Films: Part II: Karl Ritter's 'Soldier' Films",
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154:(1942). The latter type he largely invented, as a Nazi counter to the Russian revolutionary film, and can be seen as beginning with
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189:(completed 1939, released 1941) had to be shelved for two years and three either had to be abandoned or could not be released:
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120:(1942) and above all his military films, which were peacetime films with a World War I context with the 1937-1938 trilogy of
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as "ha all his worst vices: blatant propaganda, slapdash production values, crude editing, and a terrible script" but paid
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Altmann estimated that 6 million young boys had seen and been influenced by his films between 1936 and 1939. His
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became one of the country's first military pilots. He was a lieutenant in the 1st
Bavarian Pioneer Battalion.
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films. He had previously been one of the first German military pilots. He spent most of his later life in
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30:(7 November 1888 – 7 April 1977) was a German film producer and director responsible for many
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1435:: "Ritter eignet sich nicht fĂĽr feinpsychologische Zeichnung. Er ist mehr fĂĽr die deftigen Dinge."
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Ritter as a young officer with wife Erika after passing his pilot's examination, 30 September 1911
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260:) at his de-Nazification trial. In 1947, he emigrated to Argentina via Portugal; there, thanks to
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to rebut Ritter's film. His work includes some of the most important Nazi propaganda films.
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Ritter became one of the most important directors of propaganda films. He was rewarded by
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114:(1940), but he is best known for his propaganda films: anticommunist films such as
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have been provocatively seen as forerunners of modern military thrillers such as
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1341:: "the most consistent among the compliant of the sophisticated documentary".
160:(1936), which for the first time brought the German spy film home to Germany.
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The Ufa Story: A History of
Germany's Greatest Film Company, 1918–1945
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Cited in John
Altmann, "Movies' Role in Hitler's Conquest of German Youth",
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The
Triumph of Propaganda: Film and National Socialism, 1933–1945
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Film in the Third Reich: A Study of the German Cinema 1933–1945
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when the project was opposed by the military and then transferred to
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900:"Igor Sikorsky | Aviation Pioneer, Helicopter Inventor | Britannica"
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148:(contemporary films) made after the start of World War II such as
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After the end of World War II, Ritter was declared a "follower" (
1474:: " am laufenden Band schlechte Actionfilme", cited in Rother,
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fell through, and he returned to Argentina and died in 1977 in
1619:
Karl Ritter: His Life and 'Zeitfilms' under National Socialism
1621:. Potts Point, New South Wales: German Films Dot Net, 2014.
1498:, Munich: Rogner & Bernhard bei Zweitausendeins, 1987,
557:(concept, co-scripter, director, producer, line producer)
285:
1155:, Berkeley/Los Angeles: University of California, 1969,
230:. Taken prisoner by the Soviets, he escaped to Bavaria.
1604:. Literatur und Wirklichkeit 29. Bonn: Bouvier, 1998.
68:
cartoons. In 1932, he directed a short film featuring
1171:, Jefferson, North Carolina/London: McFarland, 2008,
879:
The Concise Cinegraph: Encyclopaedia of German Cinema
838:, Jefferson, North Carolina/London: McFarland, 2003,
207:. In 1943, he was ordered to cease directing films.
222:'s list of party members exempt from the military
173:had its première at the 1936 Party Rally; in 1938
1462:Karsten Witte, "Film im Nationalsozialismus", in
1069:Propaganda and the German Cinema: 1933–1945
634:(scriptwriter, director, producer, line producer)
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991:- Der letzte Durchhaltefilm der Ufa 1944/45 (I)"
836:Nazi Propaganda Films: A History and Filmography
1367:: "No. 1 film propagandist of the Third Reich".
1255:
1253:
1230:Cited in Altman, "Movies' Role", p. 383, Hull,
1042:Krieg und Militär im Film des 20. Jahrhunderts
1071:, Oxford: Clarendon-Oxford University, 1983,
958:"Lieutenant-General Hermann Ritter von Speck"
214:with membership in the governing body of the
84:. His wife's father was distantly related to
1538:, cited in Giesen, p. 257, and Hull, p. 118.
1513:, Berkeley: University of California, 1996,
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1259:Jay W. Baird, Review, Daniel Gethmann,
1196:, for a statement by Ritter printed in
652:(scriptwriter, director, line producer)
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934:Das Grosse Lexikon des Dritten Reiches
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420:Rivalen der Luft. Ein Segelfliegerfilm
286:Style, reception and modern assessment
1650:at the German Internet Movie Database
1217:, 5.1, Autumn 1950, pp. 61–72,
1704:German Army personnel of World War I
1575:"Die Hochzeitsreise | filmportal.de"
1147:3.4, Summer 1948, pp. 379–86,
1113:4.4, Summer 1950, pp. 385–91,
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53:. His father was a professor at the
987:"Hier spricht der deutsche Mensch:
539:(director, producer, line producer)
530:(director, producer, line producer)
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1602:Das Narvik-Projekt: Film und Krieg
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1261:Das Narvik-Projekt: Film und Krieg
775:Rupprecht, Crown Prince of Bavaria
14:
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807:According to Giesen, p. 257, and
702:(line producer) (unfinished film)
16:German film producer and director
1553:"Filmgeschichte als Provokation"
1169:Nazi Films in America, 1933–1942
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96:(UFA). He was the producer of
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1709:German emigrants to Argentina
1444:Hull, pp. 118, 140, 188, 219.
1354:: " No. 1 film propagandist".
817:
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1674:Film directors from WĂĽrzburg
1363:Altmann, "'Soldier' films",
1243:Altmann, "'Soldier' Films",
587:Im Kampf gegen den Weltfeind
7:
985:Hans-Christoph Blumenberg,
509:The Last Four on Santa Cruz
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1699:Luftstreitkräfte personnel
364:Come Back, All Is Forgiven
249:
1719:German World War I pilots
1689:Propaganda film directors
1534:Altmann, "Movies' Role",
1151:, in David Stewart Hull,
670:(director, line producer)
631:...Ăśber alles in der Welt
589:(director, line producer)
575:(director, line producer)
521:(director, line producer)
458:(producer, line producer)
455:Love, Death and the Devil
431:(producer, line producer)
302:as "a crushing bore" and
1267:23 (2000) 164–65,
782:
736:(scriptwriter, director)
727:(scriptwriter, director)
715:Who Drove the Grey Ford?
428:Love Must Be Understood
90:Nazis had come to power
80:Ritter was a committed
1714:German anti-communists
1490:, tr. Lilli Kaufmann,
1167:and in Harry Waldman,
355:When the Guard Marches
264:, he was able to make
246:
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1694:German film producers
1551:: Hanns-Georg Rodek,
1265:German Studies Review
989:Das Leben geht weiter
809:The Concise Cinegraph
699:Das Leben geht weiter
391:Must We Get Divorced?
236:
22:
1561:, 26 September 2000
1492:Geschichte des Films
1234:and Waldman, p. 166.
709:(producer, director)
536:Urlaub auf Ehrenwort
226:but returned to the
193:when the war began,
135:Urlaub auf Ehrenwort
1617:William Gillespie.
1215:Hollywood Quarterly
1145:Hollywood Quarterly
1111:Hollywood Quarterly
999:, 23 November 1992
545:Unternehmen Michael
413:Die verkaufte Braut
166:Unternehmen Michael
129:Unternehmen Michael
49:Ritter was born in
1684:Nazi propagandists
1679:Nazi Party members
904:www.britannica.com
683:Erzieherin gesucht
580:Die Hochzeitsreise
473:The Foolish Virgin
247:
176:Das Schwarze Korps
25:
1600:Daniel Gethmann.
1579:www.filmportal.de
1549:Filmmuseum Berlin
1431:Cited in Rother,
1211:Der deutsche Film
1198:Der deutsche Film
1130:Cited in Giesen,
399:Melodie der Liebe
144:(1938)—and
94:Universum Film AG
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500:Marriage Strike
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491:The Royal Waltz
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440:(line producer)
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406:Im Photoatelier
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335:Roland Emmerich
290:Beginning with
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262:Winifred Wagner
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212:Joseph Goebbels
105:Hochszeitsreise
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181:Pour le MĂ©rite
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1669:1977 deaths
1664:1888 births
1648:Karl Ritter
1639:Karl Ritter
1613:(in German)
1563:(in German)
1507:(in German)
1201:community".
1057:(in German)
1001:(in German)
996:Der Spiegel
946:(in German)
686: [
347:Filmography
205:Veit Harlan
108:(1939) and
76:Third Reich
66:Walt Disney
59:World War I
28:Karl Ritter
23:Karl Ritter
1658:Categories
1584:2024-02-26
963:2023-07-05
910:2023-07-05
818:References
718:(producer)
707:El Paraiso
482:The Island
415:(producer)
408:(director)
401:(producer)
394:(producer)
385:(producer)
382:Der Zinker
266:El Paraiso
45:Early life
35:propaganda
1496:1895-1933
1494:Volume 1
1415:Waldman,
944:, p. 496
889:, p. 399.
777:, in 1916
572:Capriccio
554:Patrioten
327:Zeitfilme
257:Mitläufer
228:Luftwaffe
146:Zeitfilme
123:Patrioten
39:Argentina
1558:Die Welt
1389:Rother,
1309:Rother,
1092:Rother,
1022:Giesen,
613:Bal paré
527:Verräter
337:'s 1996
329:such as
296:Bal paré
186:Kadetten
171:Verräter
157:Verräter
111:Bal paré
51:WĂĽrzburg
1547:By the
1293:Baird,
1117:–
1115:pp. 387
1094:pp. 351
811:, 1949.
250:Postwar
224:call-up
179:hailed
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331:Stukas
317:Stukas
304:Stukas
245:, 1968
201:Narvik
151:Stukas
1365:p. 61
1245:p. 64
1219:p. 62
1161:46409
1132:p. 77
783:Notes
690:]
446:Decoy
241:in a
1643:IMDb
1623:ISBN
1606:ISBN
1515:ISBN
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1468:ISBN
1331:ISBN
1173:ISBN
1157:OCLC
1073:ISBN
1046:ISBN
938:ISBN
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138:and
132:and
82:Nazi
32:Nazi
1641:at
1098:352
313:GPU
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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