My Life for Ireland (German: Mein Leben für Irland) is a 1941 German film directed by Max W. Kimmich and starring Anna Dammann, René Deltgen and Paul Wegener. The film's sets were designed by the art directors Wilhelm Depenau and Otto Erdmann.
It tells the story of a group of Dublin schoolboys from Irish nationalist families who unwittingly become pawns of the British and seek redemption by avenging their fallen IRA fathers in the Irish War of Independence.
The movie was produced for German-occupied Europe with the intent of challenging pro-British allegiances. Some German viewers in ethnically mixed areas expressed fears that it would stimulate Poles to rebellion. The film, however, enjoyed a positive response from many audiences.
Released 17 February 1941
You can watch or download this film for free at
https://archive.org/details/cttrh
Part 1
Kampf um Norwegen, Feldzug 1940 (Battle for Norway, 1940 Campaign) is a 1940 German documentary film directed by Martin Rikli and Dr. Werner Buhre under orders of the Oberkommando der Wehrmacht. It follows the Invasion of Denmark and Norway in the spring of 1940.
As a prelude, the film describes the sequence of events leading up to the invasion of Norway, especially the Anschluss of Austria, the division of Czechoslovakia after the Munich agreement and the invasion of Poland in September, 1939.
On 16 and 17 February 1940 the Royal Navy invaded Norwegian waters to attack the German tanker Altmark and release prisoners held there by the Germans, known as the Altmark incident. Eight German sailors were killed and ten wounded. It signalled an escalation of the growing crisis. The 300 British prisoners had been captured by the German cruiser Admiral Graf Spee during raids on merchant shipping in the Atlantic ocean and Indian ocean in the previous year. Adolf Hitler had ordered the German Navy to begin commerce raiding against Allied merchant traffic after it became clear that Britain would not countenance a peace treaty following the invasion of Poland.
The film also outlines the plans of Britain to invade Norway and British minelaying in the Norwegian Leads along the Atlantic coast on 8 and 9 April 1940 (known as Operation Wilfred) to prevent iron ore traffic to Germany.
The campaign itself opens with the attempt by the German Navy to force entry up the Oslo Fjord, and initially failed owing to Norwegian heavy guns either side of the fjord where it narrowed in the approach to Oslo itself.
The film was never shown in Germany for unknown reasons, and was considered a lost film for many years. The Berlin Bundesarchiv held only a few clips of the film. However, a complete nitrate copy of the film surfaced on an Internet auction in 2005. The Norwegian college professor and media expert Jostein Saakvitne discovered this, and purchased the copy.
Saakvitne then contacted the Norwegian Film Institute, and a consignment was entered into. The Film Institute had the film transferred to a video master, and sent the nitrate copy to the National Library nitrate film depository in Mo i Rana. As it became clear that the rights belonged to the Bundesarchiv, the film copy was brought back to Germany.
You can watch or download this film for free at
https://archive.org/details/cttrh
Olympia 1. Teil - Fest der Völker (Olympia Part 1 - Festival of Nations) (1938)
Olympia is a 1938 German documentary film written, directed and produced by Leni Riefenstahl, documenting the 1936 Summer Olympics, held in the Olympic Stadium in Berlin, Germany. The film was released in two parts: Olympia 1. Teil — Fest der Völker (Festival of Nations) and Olympia 2. Teil — Fest der Schönheit (Festival of Beauty). It was the first documentary feature film of the Olympic Games ever made.
Olympia set the precedent for future cinematic documents, glorifying the Olympics, particularly the Summer Games. The 1936 Summer Olympics torch relay was devised for the Games by the secretary general of the Organizing Committee, Dr. Carl Diem. Riefenstahl staged the torch relay for the film, with competitive events of the Games.
Many advanced motion picture techniques, which later became industry standards but which were groundbreaking at the time, were employed, including unusual camera angles, smash cuts, extreme close-ups and placing tracking shot rails within the bleachers. Although restricted to six camera positions on the stadium field, Riefenstahl set up cameras in as many other places as she could, including in the grandstands. She attached automatic cameras to balloons, including instructions to return the film to her, and she also placed automatic cameras in boats during practice runs. Amateur photography was used to supplement that of the professionals along the course of races. Perhaps the greatest innovation seen in Olympia was the use of an underwater camera. The camera followed divers through the air and, as soon as they hit the water, the cameraman dived down with them, all the while changing focus and aperture. The techniques employed are almost universally admired, but the film is controversial due to its political context. Nevertheless, the film appears on many lists of the greatest films of all-time, including Time magazine's "All-Time 100 Movies."
The reaction to the film in Germany was enthusiastic, and it was received with acclaim and accolades around the world. In 1960, Riefenstahl's peers voted Olympia one of the 10 best films of all time. The Daily Telegraph recognised the film as "even more technically dazzling" than Triumph of the Will. The Times described the film as "visually ravishing ... A number of sequences in the supposedly documentary Olympia, notably that devoted to the high-diving competition, become less and less concerned with record and more and more abstract: as some of the divers hit the water, the visual interest of patterns of movement takes over."
The film won a number of prestigious film awards but fell from grace, particularly in the United States due to the news in November 1938 of Kristallnacht, an especially dramatic pogrom against the Jews of Germany. Riefenstahl was touring the U.S. to promote the film at that time and was immediately asked to leave the country.
The film won several awards:
National Film Prize (1937–1938)
Venice International Film Festival (1938) — Coppa Mussolini (Best Film)
Swedish Polar Prize (1938)
Greek Sports Prize (1938)
Olympic Gold Medal from the International Olympic Committee (1939)
Lausanne International Film Festival (1948) — Olympic Diploma
Released 20 April 1938
You can watch or download this film for free at https://archive.org/details/leni-riefenstahl-olympia-fest-der-volker-1936
Reich Studies 05 - Goebbels' Diary
A review of
"Revelations from Goebbels' Diary: Bringing to Light Secrets of Hitler's Propaganda Minister" by David Irving
https://ihr.org/jhr/v15/v15n1p-2_Irving.html
Frisians in Peril (German: Friesennot) is a 1935 German drama film directed by Peter Hagen and starring Friedrich Kayßler, Jessie Vihrog and Valéry Inkijinoff. It concerns a village of ethnic Frisians in Russia.
The film's sets were designed by the art directors Robert A. Dietrich and Bernhard Schwidewski. Location shooting took place around Bispingen. It premiered at the Ufa-Palast am Zoo.
The film has also been known as Dorf im roten Sturm (Germany; reissue title) and Frisions in Distress (USA).
Released 19 November 1935
You can watch or download this film for free at
https://archive.org/details/cttrh
The Victory of Faith (German: Der Sieg des Glaubens) is the first documentary film directed by Leni Riefenstahl. It recounts the Fifth Party Rally of the NSDAP, which occurred in Nuremberg, Germany, from 30 August to 3 September 1933 and celebrates the victory of the Party in achieving power when Hitler assumed the role of Chancellor of Germany in January 1933.
The film is of great historic interest because it shows Adolf Hitler and Ernst Röhm on close and intimate terms, before Hitler had Röhm shot during the Night of the Long Knives on 1 July 1934. As he then sought to erase Röhm from German history, Hitler required all known copies of the film to be destroyed, and it was considered lost until a copy turned up in the 1980s in East Germany.
Released 1 December 1933
You can watch or download this film for free at https://archive.org/details/cttrh
Asse Zur See - Ein Filmbericht Von Unseren Schnellbooten (Aces at sea - A film report of our speedboats) 1943
You can watch or download this film for free at https://archive.org/details/1943-Asse-zur-See