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{{short description|German film director and actor}}
{{Short description|German film director and actor (1899–1964)}}
{{Use dmy dates|date=November 2021}}
{{other people||Harlan (disambiguation)}}
{{Infobox person
{{Infobox person
| name = Veit Harlan
| name = Veit Harlan
Line 6: Line 6:
| caption = Harlan (right) with the widow of [[Ferdinand Marian]], at Harlan's court case in 1948
| caption = Harlan (right) with the widow of [[Ferdinand Marian]], at Harlan's court case in 1948
| birth_date = {{birth date|1899|9|22|df=yes}}
| birth_date = {{birth date|1899|9|22|df=yes}}
| birth_place = [[Berlin]], [[German Empire]]
| birth_place = [[Berlin]], [[Kingdom of Prussia]], [[German Empire]]
| death_date = {{death date and age|1964|4|13|1899|9|22|df=yes}}
| death_date = {{death date and age|1964|4|13|1899|9|22|df=yes}}
| death_place = [[Capri]], [[Italy]]
| death_place = [[Capri]], Italy
⚫
| occupation = {{hlist|Film director|actor}}
| nationality = German
| spouse = {{ubl
⚫
| occupation = Film director, actor
| spouse = {{marriage|[[Dora Gerson]]|1922|1924|end=divorced}} <br> {{marriage|[[Hilde Körber]]|1929|1938|end=divorced}} <br> {{marriage|[[Kristina Söderbaum]]|1939}}
| {{marriage|[[Dora Gerson]]|1922|1924|end=divorced}}
| {{marriage|[[Hilde Körber]]|1929|1938|end=divorced}}
| {{marriage|[[Kristina Söderbaum]]|1939}}
}}
| children = 5, including [[Thomas Harlan]]
| children = 5, including [[Thomas Harlan]]
| relatives = [[Peter Harlan]] (brother) <br> [[Christiane Kubrick]] (niece) <br> [[Jan Harlan]] (nephew)
| relatives = [[Peter Harlan]] (brother) <br> [[Christiane Kubrick]] (niece) <br> [[Jan Harlan]] (nephew)
}}
}}


'''Veit Harlan''' (22 September 1899 &ndash; 13 April 1964) was a German film director and actor. Harlan reached the highpoint of his career as a director under the Nazi era, especially his antisemitic film ''[[Jud Süß (1940 film)|Jud Süß]]'' (1940) makes him controversial. While viewed critically for his ideologies, a number of critics consider him a capable director on the grounds of such work as his ''[[Opfergang]]'' (1944).
'''Veit Harlan''' (22 September 1899 – 13 April 1964) was a German film director and actor. Harlan reached the highpoint of his career as a director in the Nazi era; most notably his antisemitic film ''[[Jud Süß (1940 film)|Jud Süß]]'' (1940) makes him controversial. While viewed critically for his ideologies, a number of critics consider him a capable director on the grounds of such work as ''[[Opfergang]]'' (1944){{Citation needed|date=September 2023}}.


==Life and career==
==Life and career==
Harlan was born in Berlin, the son of the writer Walter Harlan and his wife Adele, nee Boothby.<ref>{{Cite book|last=Noack|first=Frank|url=http://dx.doi.org/10.5810/kentucky/9780813167008.001.0001|title=Veit Harlan: The Life and Work of a Nazi Filmmaker|date=2016-03-15|publisher=University Press of Kentucky|year=2016|isbn=978-0-8131-6700-8|location=Lexington|doi=10.5810/kentucky/9780813167008.001.0001}}</ref> His older brother [[Peter Harlan|Peter]] was a multi-instrumentalist and musical instrument maker. After studying under [[Max Reinhardt]], he first appeared on the stage in 1915 and, after [[World War I]], worked in the Berlin stage. In 1934 he starred in the Berlin premiere of [[Eugen Ortner]]'s tragedy ''[[Meier Helmbrecht (play)|Meier Helmbrecht]]'', but it was a critical disaster and he later described it as his lowest point as an actor.<ref>Noack p.72</ref> Shortly afterwards he directed his first play, the comedy ''[[Marriage on the Panke]]'', at the [[Theater am Schiffbauerdamm]].<ref>Noack p.75</ref>
Harlan was born in [[Charlottenburg]], [[Berlin]], the son of the writer Walter Harlan and his wife Adele, nee Boothby.<ref>{{Cite book|last=Noack|first=Frank|url=http://dx.doi.org/10.5810/kentucky/9780813167008.001.0001|title=Veit Harlan: The Life and Work of a Nazi Filmmaker|date=2016-03-15|publisher=University Press of Kentucky|year=2016|isbn=978-0-8131-6700-8|location=Lexington|doi=10.5810/kentucky/9780813167008.001.0001}}</ref> His elder brother [[Peter Harlan|Peter]] was a multi-instrumentalist and musical instrument maker. After studying under [[Max Reinhardt]], he first appeared on the stage in 1915 and, after [[World War I]], worked in the Berlin stage. In 1934 he starred in the Berlin premiere of [[Eugen Ortner]]'s tragedy ''[[Meier Helmbrecht (play)|Meier Helmbrecht]]'', but it was a critical disaster and he later described it as his lowest point as an actor.<ref>Noack p. 72</ref> Shortly afterwards he directed his first play, the comedy ''[[Marriage on the Panke]]'', at the [[Theater am Schiffbauerdamm]].<ref>Noack p. 75</ref>


In 1922 he married Jewish actress and cabaret singer [[Dora Gerson]]; the couple divorced in 1924. Gerson later died at [[Auschwitz]] with her family. In 1929, he married [[Hilde Körber]], having three children with her, then divorcing her for political reasons related to the influence of [[Nazism]]. One of their children, [[Thomas Harlan]], became a writer and director in his own right. In 1939, Veit Harlan married the Swedish actress [[Kristina Söderbaum]], for whom he wrote several tragic roles that included dramatic suicide scenes, increasing their popularity with the German cinema audience. Harlan had two children with Söderbaum.
In 1922 he married Jewish actress and cabaret singer [[Dora Gerson]]; the couple divorced in 1924. Gerson later was murdered at [[Auschwitz]] with her family. In 1929, he married [[Hilde Körber]], having three children with her, then divorcing her for political reasons related to the influence of [[Nazism]]. One of their children, [[Thomas Harlan]], became a writer and director in his own right. In 1939, Veit Harlan married the Swedish actress [[Kristina Söderbaum]], for whom he wrote several tragic roles that included dramatic suicide scenes, increasing their popularity with the German cinema audience. Harlan had two children with Söderbaum.


===Nazi era===
===Nazi era===
Film critic [[David Thomson (film critic)|David Thomson]] asserts that Harlan, having just started directing in 1935, was able to attract Goebbels' attention only because so much directorial talent had emigrated from Germany after the Nazis had taken power.<ref>David Thomson ''The New Biographical Dictionary of Film'', London: Little, Brown, 2002, p.372</ref> By 1937, [[Joseph Goebbels]] had appointed Harlan as one of his leading propaganda directors. His most notorious film was ''[[Jud Süß (1940 film)|Jud Süß]]'' (1940), made for anti-Semitic propaganda purposes in Germany and Austria. In 1943 it received [[Universum Film AG|UFA]]'s highest awards. Karsten Witte, the film critic, provided a fitting appellation for Harlan calling him "the baroque fascist". Harlan made the Reich's loudest, most colorful and expensive films.<ref>Eric Rentschler "The Ministry of Illusion", p. 167. {{ISBN|0-674-57640-3}}</ref>
Film critic [[David Thomson (film critic)|David Thomson]] asserts that Harlan, having just started directing in 1935, was able to attract Goebbels' attention only because so much directorial talent had emigrated from Germany after the Nazis had taken power.<ref>David Thomson ''The New Biographical Dictionary of Film'', London: Little, Brown, 2002, p. 372</ref> By 1937, [[Joseph Goebbels]] had appointed Harlan as one of his leading propaganda directors. His most notorious film was ''[[Jud Süß (1940 film)|Jud Süß]]'' (1940), made for anti-Semitic propaganda purposes in Germany and Austria. In 1943 it received [[Universum Film AG|UFA]]'s highest awards. Karsten Witte, the film critic, provided a fitting appellation for Harlan calling him "the baroque fascist". Harlan made the Reich's loudest, most colorful and expensive films.<ref>Eric Rentschler ''The Ministry of Illusion'', p. 167. {{ISBN|0-674-57640-3}}</ref>


==Postwar==
==Postwar==
After the war Harlan was charged with participating in the anti-Semitic movement and aiding the [[Nazism|Nazis]]. However, he successfully defended himself by arguing that the Nazis controlled his work and that he was obeying their orders and should not be held personally responsible for the content. There was no proof shown that backed this, on the contrary, it was said that it was well-known that Harlan made his works more antisemitic than the regime had asked, for example, a script for ''Jud Süß'' which Harlan put more antisemitic messages in was praised by Goebbels.{{fact|date=June 2020}} In 1949, Harlan was charged with crimes against humanity for his role as director of ''[[Jud Süß (1940 film)|Jud Süß]]''. The Hamburg Criminal Chamber of the Regional Court (''Schwurgericht'') controversially acquitted Harlan of the charges. This decision was upheld by the court of the British occupation zone. Both acquittals remain controversial to this day since the ruling judge had previously worked as a judge for the Nazi regime and since Harlan's works had been proven to have contributed hugely to spreading the antisemitic sentiment in Germany, which enabled the Holocaust. Nazi camp guards who watched ''Jud Süß'', Jewish survivors told the court, had become more cruel towards inmates after the film, clearly affected by the propaganda contents which made them hate Jews more (although this allegation could not be proved). The film was deemed in one court to be unsuitable and highly problematic and to have contributed to enabling the antisemitism and genocides, but neither Harlan or his antisemitic supporters who insulted Jewish victims in the courts, was ever sentenced.<ref>https://www.deutschlandfunkkultur.de/ns-regisseur-veit-harlan-vor-gericht-ein-zweifelhafter.932.de.html?dram:article_id=446899</ref><ref>{{cite web |url=https://warfarehistorynetwork.com/daily/wwii/jud-suss-the-film-that-fueled-the-holocaust/ |title=Jud Suss: The film that fueled the Holocaust |last1=Kidney |first1=Gary |date=26 October 2018 |website=Warfare History Network |publisher=Sovereign Media |access-date=7 February 2019 |quote=The decision was appealed and the High Court of the British Zone decided to hear the appeal. Norbert Wollheim, a Holocaust survivor had testified against Harlan in the trial but refused to appear for the appeal. Instead, he denounced “post-National Socialist justice” for degrading “the process of cleansing post-Hitler Germany of its criminals.” He felt that the Cold War imperative that the past was indeed past offered too sweeping an amnesty for people who should have been held accountable. In the appeal, the prosecution again had no success. The jury court pronounced Harlan free of all criminal liability in its decision of April 29, 1950.}}</ref><ref>{{cite book|last=Cremer|first=Hans-Joachim|title=Human rights and the protection of privacy in tort law: a comparison between English and German law|url=https://books.google.com/books?id=FTHj-ZTs2BQC&pg=PA174|date=2010-10-11|publisher=Taylor & Francis US|isbn=978-0-415-47704-8|page=174}}</ref>
After the war Harlan was charged with participating in the anti-Semitic movement and aiding the [[Nazism|Nazis]]. He successfully defended himself by arguing that the Nazis controlled his work, that he was obeying their orders, and that he should not be held personally responsible for the content. In 1949, Harlan was charged with crimes against humanity for his role as director of ''Jud Süß''. The Hamburg Criminal Chamber of the Regional Court (''Schwurgericht'') controversially acquitted Harlan of the charges. This decision was upheld by the court of the British occupation zone. Both acquittals remain controversial to this day since the ruling judge had previously worked as a judge for the Nazi regime and since Harlan's works had been proven to have contributed hugely to spreading the antisemitic sentiment in Germany, which enabled the Holocaust. Nazi camp guards who watched ''Jud Süß'', Jewish survivors told the court, had become crueller towards inmates afterwards, clearly affected by the propaganda contents which made them hate Jews more (although this allegation could not be proved). The film was deemed in one court to be unsuitable and highly problematic and to have contributed to enabling the antisemitism and genocides, but neither Harlan or his antisemitic supporters who insulted Jewish victims in the courts were ever sentenced.<ref>{{Cite web|url=https://www.deutschlandfunkkultur.de/ns-regisseur-veit-harlan-vor-gericht-ein-zweifelhafter.932.de.html?dram:article_id=446899|title=NS-Regisseur Veit Harlan vor Gericht – ein zweifelhafter Freispruch}}</ref><ref>{{cite web |url=https://warfarehistorynetwork.com/daily/wwii/jud-suss-the-film-that-fueled-the-holocaust/ |title=Jud Suss: The film that fueled the Holocaust |last1=Kidney |first1=Gary |date=26 October 2018 |website=Warfare History Network |publisher=Sovereign Media |access-date=7 February 2019 |quote=The decision was appealed and the High Court of the British Zone decided to hear the appeal. Norbert Wollheim, a Holocaust survivor, had testified against Harlan in the trial but refused to appear for the appeal. Instead, he denounced “post-National Socialist justice” for degrading "the process of cleansing post-Hitler Germany of its criminals". He felt that the Cold War imperative that the past was indeed past offered too sweeping an amnesty for people who should have been held accountable. In the appeal, the prosecution again had no success. The jury court pronounced Harlan free of all criminal liability in its decision of April 29, 1950.}}</ref><ref>{{cite book|last=Cremer|first=Hans-Joachim|title=Human rights and the protection of privacy in tort law: a comparison between English and German law|url=https://books.google.com/books?id=FTHj-ZTs2BQC&pg=PA174|date=2010-10-11|publisher=Taylor & Francis US|isbn=978-0-415-47704-8|page=174}}</ref>


In 1951, Harlan sued for an injunction against Hamburg politician [[Erich Lüth]] for publicly calling for a boycott of ''Unsterbliche Geliebte'' (''[[Immortal Beloved (1951 film)|Immortal Beloved]]''). The District Court in Hamburg granted Harlan's suit and ordered that Lüth forbear from making such public appeals. However, the lower court decision was overturned in 1958 by the [[Federal Constitutional Court of Germany|Federal Constitutional Court]] because it infringed on Lüth's right to freedom of expression. This was a landmark decision because it clarified the importance of the constitutional civil rights in disputes between individuals.
In 1951, Harlan sued for an injunction against Hamburg politician [[Erich Lüth]] for publicly calling for a boycott of ''Unsterbliche Geliebte'' (''[[Immortal Beloved (1951 film)|Immortal Beloved]]''). The District Court in Hamburg granted Harlan's suit and ordered that Lüth forbear from making such public appeals. However, the lower court decision was overturned in 1958 by the [[Federal Constitutional Court]] because it infringed on Lüth's right to freedom of expression ({{ill|Lüth-Urteil|de}}). This was a landmark decision because it clarified the importance of the constitutional civil rights in disputes between individuals.


Harlan made a total of nine films between 1950 and 1958, dying in 1964 while on vacation in Capri.<ref name="SadoulMorris1972">{{cite book|author1=Georges Sadoul|author2=Peter Morris|title=Dictionary of films|url=https://books.google.com/books?id=_CL5zCKR2PgC&pg=PA170|access-date=5 November 2011|date=1 September 1972|publisher=University of California Press|isbn=978-0-520-02152-5|page=170}}</ref>
Harlan made a total of nine films between 1950 and 1958. He died in 1964 while on vacation in Capri.<ref name="SadoulMorris1972">{{cite book|author1=Sadoul|first=Georges|url=https://books.google.com/books?id=_CL5zCKR2PgC&pg=PA170|title=Dictionary of Films|publisher=University of California Press|year=1971|isbn=978-0-520-02152-5|location=Berkeley and Los Angeles|page=170|translator-last=Morris|translator-first=Peter|author-link=Georges Sadoul}}</ref>


===Family===
===Family===
Veit Harlan's son [[Thomas Harlan|Thomas]] (1929–2010), an author and film director, created a semi-documentary film titled ''Wundkanal'' (''Wound Passage''), in which his father, played by a convicted mass murderer, is forced to undergo a series of brutal interrogations into his war crimes.<ref name="anton kaes">{{cite book|last1=Kaes|first1=Anton|title=From Hitler to Heimat: The Return of History as Film|date=1992|publisher=Harvard University Press|isbn=0674324560|page=141|url=https://books.google.com/books?id=ci9OQSH-M6MC}}</ref> Thomas Harlan's final publication, issued posthumously, ''Veit'', was a memoir in the form of a letter to his father, continuing the investigation into Veit Harlan's complicity in the Nazi regime.<ref>{{cite web|last1=Verger|first1=Romain|title=Thomas Harlan, Veit. Lettre au père ou l'insoutenable légèreté|url=http://anagnoste.blogspot.com/2013/12/thomas-harlan-veit.html|website=Anagnostes|access-date=2 March 2015}}</ref>
Veit Harlan's son [[Thomas Harlan|Thomas]] (1929–2010), an author and film director, created a semi-documentary film titled ''Wundkanal'' (''Wound Passage''), in which his father, played by a convicted mass murderer, is forced to undergo a series of brutal interrogations into his war crimes.<ref name="anton kaes">{{cite book|last1=Kaes|first1=Anton|title=From Hitler to Heimat: The Return of History as Film|date=1992|publisher=Harvard University Press|isbn=0674324560|page=141|url=https://books.google.com/books?id=ci9OQSH-M6MC}}</ref> Thomas Harlan's final publication, issued posthumously, ''Veit'', was a memoir in the form of a letter to his father, continuing the investigation into Veit Harlan's complicity in the Nazi regime.<ref>{{cite web|last1=Verger|first1=Romain|title=Thomas Harlan, Veit. Lettre au père ou l'insoutenable légèreté|url=http://anagnoste.blogspot.com/2013/12/thomas-harlan-veit.html|website=Anagnostes|date=12 December 2013|access-date=2 March 2015}}</ref>


In 1958, Veit Harlan's niece [[Christiane Kubrick|Christiane Susanne Harlan]] married filmmaker [[Stanley Kubrick]], who was Jewish. She is credited by her stage name Susanne Christian in Kubrick's ''[[Paths of Glory]]'' (1957). She said she was ashamed to come from a "family of murderers" but was relieved that Kubrick's Jewish family accepted her despite her ties to Harlan.<ref>{{Cite news|url=https://www.haaretz.com/1.4880226|title=The Real Stanley Kubrick|date=2005-11-03|work=Haaretz|access-date=2019-03-12|language=en}}</ref> They remained married until Stanley Kubrick's death in 1999.
In 1958, Veit Harlan's niece [[Christiane Kubrick|Christiane Susanne Harlan]] married filmmaker [[Stanley Kubrick]], who was Jewish. She is credited by her stage name Susanne Christian in Kubrick's ''[[Paths of Glory]]'' (1957). She said she was ashamed to come from a "family of murderers" but was relieved that Kubrick's Jewish family accepted her despite her ties to Harlan.<ref>{{Cite news|last=Karpel|first=Dalia|date=2005-11-03|title=The Real Stanley Kubrick|language=en|work=Haaretz|url=https://www.haaretz.com/1.4880226|access-date=2019-03-12}}</ref> They remained married until Stanley Kubrick's death in 1999.


Susanne Körber, one of his daughters from his second wife Hilde Körber, converted to Judaism and married the son of Holocaust victims.<ref name="nyt'10-03-02" /> She committed suicide in 1989.<ref name="nyt'10-03-02" />
Susanne Körber, one of his daughters from his second wife Hilde Körber, converted to Judaism and married the son of Holocaust victims.<ref name="nyt'10-03-02" /> She committed suicide in 1989.<ref name="nyt'10-03-02" />
Line 42: Line 45:
===Documentaries===
===Documentaries===


In 2001, Horst Königstein made a film titled ''Jud Suss - Ein Film als Verbrechen?'' (''Jud Suss - A Film as a Crime?'').
In 2001, {{ill|Horst Königstein|de}} made a film titled ''Jud Süß – Ein Film als Verbrechen?'' (''Jud Süß – A Film as a Crime?'').


The documentary ''[[Harlan – In the Shadow of Jew Süss]]'' (2008) by Felix Moeller explores Harlan's motivations and the post-war reaction of his children and grandchildren to his notoriety.<ref name="nyt'10-03-02">Rohter, Larry (March 2, 2010) [https://www.nytimes.com/2010/03/02/movies/02suss.html "Nazi Films Still Pains Relatives"]. ''[[New York Times]]'', Retrieved on March 2, 2010</ref>
The documentary ''[[Harlan – In the Shadow of Jew Süss]]'' (2008) by Felix Moeller explores Harlan's motivations and the post-war reaction of his children and grandchildren to his notoriety.<ref name="nyt'10-03-02">{{Cite news|last=Rohter|first=Larry|author-link=Larry Rohter|date=1 March 2010|title=Nazi Film Still Pains Relatives|work=[[The New York Times]]|url=https://www.nytimes.com/2010/03/02/movies/02suss.html|access-date=2 March 2010}}</ref>


==Filmography ==
==Filmography ==
Line 82: Line 85:
* ''[[Maria the Maid]]'' (1936)
* ''[[Maria the Maid]]'' (1936)
* ''[[Tired Theodore (1936 film)|Tired Theodore]]'' (1936)
* ''[[Tired Theodore (1936 film)|Tired Theodore]]'' (1936)
* ''[[Kreutzersonate]]'' (1937)
* ''[[The Kreutzer Sonata (1937 film)|The Kreutzer Sonata]]'' (1937)
* ''[[My Son the Minister]]'' (1937)
* ''[[My Son the Minister]]'' (1937)
* ''[[Der Herrscher]]'' (1937)
* ''[[The Ruler]]'' (1937)
* ''{{Ill|Youth (1938 film)|it|3=Giovinezza (film 1938)|lt=Youth}}'' (1938)
* ''{{Ill|Youth (1938 film)|it|3=Giovinezza (film 1938)|lt=Youth}}'' (1938)
* ''[[Covered Tracks]]'' (1938)
* ''[[Covered Tracks]]'' (1938)
Line 104: Line 107:
* ''[[Different from You and Me]]''
* ''[[Different from You and Me]]''
* ''[[I'll Carry You in My Arms (1958 film)|I'll Carry You in My Arms]]'' (1958)
* ''[[I'll Carry You in My Arms (1958 film)|I'll Carry You in My Arms]]'' (1958)
* ''[[Liebe kann wie Gift sein]]'' (1958)
* ''{{ill|Liebe kann wie Gift sein|de}}'' (1958)
* ''[[Es war die erste Liebe]]'' (1958)
* ''[[Es war die erste Liebe]]'' (1958)
{{div col end}}
{{div col end}}


===Screenwriter only===
===Screenwriter only===
* ''[[The Puppeteer (film)|The Puppeteer]]'' (1945)
* ''{{ill|Der Puppenspieler (unvollendet)|lt=The Puppeteer|de}}'' (1945)
* ''[[Eyes of Love]]'' (1951)
* ''[[Eyes of Love (1951 film)|Eyes of Love]]'' (1951)


== See also ==
== See also ==
Line 131: Line 134:
[[Category:1899 births]]
[[Category:1899 births]]
[[Category:1964 deaths]]
[[Category:1964 deaths]]
[[Category:People from Charlottenburg]]
[[Category:Film directors from Berlin]]
[[Category:Film directors from Berlin]]
[[Category:Nazi propagandists]]
[[Category:Nazi propagandists]]
[[Category:Propaganda film directors]]
[[Category:Propaganda film directors]]
[[Category:German military personnel of World War I]]

Latest revision as of 23:51, 18 June 2024

Veit Harlan
Harlan (right) with the widow of Ferdinand Marian, at Harlan's court case in 1948
Born(1899-09-22)22 September 1899
Berlin, Kingdom of Prussia, German Empire
Died13 April 1964(1964-04-13) (aged 64)
Capri, Italy
Occupations
  • Film director
  • actor
Spouses
  • ​
    ​
    (m. 1922; div. 1924)​
  • ​
    ​
    (m. 1929; div. 1938)​
  • ​
    (m. 1939)​
Children5, including Thomas Harlan
RelativesPeter Harlan (brother)
Christiane Kubrick (niece)
Jan Harlan (nephew)

Veit Harlan (22 September 1899 – 13 April 1964) was a German film director and actor. Harlan reached the highpoint of his career as a director in the Nazi era; most notably his antisemitic film Jud Süß (1940) makes him controversial. While viewed critically for his ideologies, a number of critics consider him a capable director on the grounds of such work as Opfergang (1944)[citation needed].

Life and career

[edit]

Harlan was born in Charlottenburg, Berlin, the son of the writer Walter Harlan and his wife Adele, nee Boothby.[1] His elder brother Peter was a multi-instrumentalist and musical instrument maker. After studying under Max Reinhardt, he first appeared on the stage in 1915 and, after World War I, worked in the Berlin stage. In 1934 he starred in the Berlin premiere of Eugen Ortner's tragedy Meier Helmbrecht, but it was a critical disaster and he later described it as his lowest point as an actor.[2] Shortly afterwards he directed his first play, the comedy Marriage on the Panke, at the Theater am Schiffbauerdamm.[3]

In 1922 he married Jewish actress and cabaret singer Dora Gerson; the couple divorced in 1924. Gerson later was murdered at Auschwitz with her family. In 1929, he married Hilde Körber, having three children with her, then divorcing her for political reasons related to the influence of Nazism. One of their children, Thomas Harlan, became a writer and director in his own right. In 1939, Veit Harlan married the Swedish actress Kristina Söderbaum, for whom he wrote several tragic roles that included dramatic suicide scenes, increasing their popularity with the German cinema audience. Harlan had two children with Söderbaum.

Nazi era

[edit]

Film critic David Thomson asserts that Harlan, having just started directing in 1935, was able to attract Goebbels' attention only because so much directorial talent had emigrated from Germany after the Nazis had taken power.[4] By 1937, Joseph Goebbels had appointed Harlan as one of his leading propaganda directors. His most notorious film was Jud Süß (1940), made for anti-Semitic propaganda purposes in Germany and Austria. In 1943 it received UFA's highest awards. Karsten Witte, the film critic, provided a fitting appellation for Harlan calling him "the baroque fascist". Harlan made the Reich's loudest, most colorful and expensive films.[5]

Postwar

[edit]

After the war Harlan was charged with participating in the anti-Semitic movement and aiding the Nazis. He successfully defended himself by arguing that the Nazis controlled his work, that he was obeying their orders, and that he should not be held personally responsible for the content. In 1949, Harlan was charged with crimes against humanity for his role as director of Jud Süß. The Hamburg Criminal Chamber of the Regional Court (Schwurgericht) controversially acquitted Harlan of the charges. This decision was upheld by the court of the British occupation zone. Both acquittals remain controversial to this day since the ruling judge had previously worked as a judge for the Nazi regime and since Harlan's works had been proven to have contributed hugely to spreading the antisemitic sentiment in Germany, which enabled the Holocaust. Nazi camp guards who watched Jud Süß, Jewish survivors told the court, had become crueller towards inmates afterwards, clearly affected by the propaganda contents which made them hate Jews more (although this allegation could not be proved). The film was deemed in one court to be unsuitable and highly problematic and to have contributed to enabling the antisemitism and genocides, but neither Harlan or his antisemitic supporters who insulted Jewish victims in the courts were ever sentenced.[6][7][8]

In 1951, Harlan sued for an injunction against Hamburg politician Erich Lüth for publicly calling for a boycott of Unsterbliche Geliebte (Immortal Beloved). The District Court in Hamburg granted Harlan's suit and ordered that Lüth forbear from making such public appeals. However, the lower court decision was overturned in 1958 by the Federal Constitutional Court because it infringed on Lüth's right to freedom of expression (Lüth-Urteil [de]). This was a landmark decision because it clarified the importance of the constitutional civil rights in disputes between individuals.

Harlan made a total of nine films between 1950 and 1958. He died in 1964 while on vacation in Capri.[9]

Family

[edit]

Veit Harlan's son Thomas (1929–2010), an author and film director, created a semi-documentary film titled Wundkanal (Wound Passage), in which his father, played by a convicted mass murderer, is forced to undergo a series of brutal interrogations into his war crimes.[10] Thomas Harlan's final publication, issued posthumously, Veit, was a memoir in the form of a letter to his father, continuing the investigation into Veit Harlan's complicity in the Nazi regime.[11]

In 1958, Veit Harlan's niece Christiane Susanne Harlan married filmmaker Stanley Kubrick, who was Jewish. She is credited by her stage name Susanne Christian in Kubrick's Paths of Glory (1957). She said she was ashamed to come from a "family of murderers" but was relieved that Kubrick's Jewish family accepted her despite her ties to Harlan.[12] They remained married until Stanley Kubrick's death in 1999.

Susanne Körber, one of his daughters from his second wife Hilde Körber, converted to Judaism and married the son of Holocaust victims.[13] She committed suicide in 1989.[13]

Documentaries

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In 2001, Horst Königstein [de] made a film titled Jud Süß – Ein Film als Verbrechen? (Jud Süß – A Film as a Crime?).

The documentary Harlan – In the Shadow of Jew Süss (2008) by Felix Moeller explores Harlan's motivations and the post-war reaction of his children and grandchildren to his notoriety.[13]

Filmography

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Actor

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Director

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Screenwriter only

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See also

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Further reading

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References

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  1. ^ Noack, Frank (15 March 2016). Veit Harlan: The Life and Work of a Nazi Filmmaker. Lexington: University Press of Kentucky. doi:10.5810/kentucky/9780813167008.001.0001. ISBN 978-0-8131-6700-8.{{cite book}}: CS1 maint: date and year (link)
  2. ^ Noack p. 72
  3. ^ Noack p. 75
  4. ^ David Thomson The New Biographical Dictionary of Film, London: Little, Brown, 2002, p. 372
  5. ^ Eric Rentschler The Ministry of Illusion, p. 167. ISBN 0-674-57640-3
  6. ^ "NS-Regisseur Veit Harlan vor Gericht – ein zweifelhafter Freispruch".
  7. ^ Kidney, Gary (26 October 2018). "Jud Suss: The film that fueled the Holocaust". Warfare History Network. Sovereign Media. Retrieved 7 February 2019. The decision was appealed and the High Court of the British Zone decided to hear the appeal. Norbert Wollheim, a Holocaust survivor, had testified against Harlan in the trial but refused to appear for the appeal. Instead, he denounced "post-National Socialist justice" for degrading "the process of cleansing post-Hitler Germany of its criminals". He felt that the Cold War imperative that the past was indeed past offered too sweeping an amnesty for people who should have been held accountable. In the appeal, the prosecution again had no success. The jury court pronounced Harlan free of all criminal liability in its decision of April 29, 1950.
  8. ^ Cremer, Hans-Joachim (11 October 2010). Human rights and the protection of privacy in tort law: a comparison between English and German law. Taylor & Francis US. p. 174. ISBN 978-0-415-47704-8.
  9. ^ Sadoul, Georges (1971). Dictionary of Films. Translated by Morris, Peter. Berkeley and Los Angeles: University of California Press. p. 170. ISBN 978-0-520-02152-5.
  10. ^ Kaes, Anton (1992). From Hitler to Heimat: The Return of History as Film. Harvard University Press. p. 141. ISBN 0674324560.
  11. ^ Verger, Romain (12 December 2013). "Thomas Harlan, Veit. Lettre au père ou l'insoutenable légèreté". Anagnostes. Retrieved 2 March 2015.
  12. ^ Karpel, Dalia (3 November 2005). "The Real Stanley Kubrick". Haaretz. Retrieved 12 March 2019.
  13. ^ a b c Rohter, Larry (1 March 2010). "Nazi Film Still Pains Relatives". The New York Times. Retrieved 2 March 2010.
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