The Eternal Jew 1940 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Hitler and Goebbels believed that film was a vital tool for molding public opinion. The Nazis first established a film department in 1930 and Goebbels had taken a personal interest in the use of film to promote the Nazi philosophy and agenda. Soon after the Nazi takeover, Goebbels insisted in speeches that the role of the German cinema was to serve as the "vanguard of the Nazi military".

The Goebbels film appears to have been intended as a violently anti-Semitic version of the British film The Wandering Jew, which argued that Jews were victims of relentless persecution throughout history. Saul Friedländer suggests that Goebbels' intent was to counter three films: Jew Süss, The House of Rothschild, and The Wandering Jew. These three films, all released in 1933-34, showed that Jews were persecuted throughout history; the Goebbels films presented the opposite message.

In 1937, a special wing of the Propaganda Ministry put on an art exhibition in Munich titled Der ewige Jude. It followed this up with the publication of a book of the same title, consisting of 265 photographs, each with a derogatory caption asserting the degeneracy of the Jewish race.

In November 1938, Goebbels made a series of attacks against the Jews in the German media that were a factor which resulted in the pogrom known as Kristallnacht. Despite the emotional satisfaction afforded the Nazis by carrying out their antisemitism with direct violence, Kristallnacht was considered by Hitler to have been a political disaster both within Germany and internationally. Not only did the brutality indirectly caused by Goebbels evoke harsh criticism internationally, the mixed reaction in the German media showed a lack of broad-based support among Germans for antisemitism and violence.

Hitler expressed his frustration and anger at the mixed response from the German media and insisted that, instead of openly calling for violence against the Jews as Goebbels had in instigating the pogrom, Nazi propaganda should "elucidate events of foreign policy" in such a way that the German people themselves would call for violence against the Jews.

In response to Hitler's harsh reprimand, Goebbels launched a campaign to promote the anti-Semitic views of the Nazis to the German populace. He ordered each film studio to make an anti-Semitic film. In the case of The Eternal Jew, Goebbels conceived of a film that would communicate to the German people the same antisemitic message that had been the theme of the 1937 Munich exhibition. Hitler preferred films such as The Eternal Jew which presented the Nazi anti-Semitic agenda openly and directly; however Goebbels disliked the crudeness of such straightforward approaches, preferring the much more subtle approach of couching anti-Semitic messages in an engaging story with popular appeal. The film Jud Süß is an example of Goebbels' preferred approach.

Although Goebbels did not generally take an active role in the production of particular films, he elected to do so in the case of major propaganda films such as The Eternal Jew. The film was in production for over a year. Throughout the end of 1939 and the beginning of 1940, Goebbels devoted "constant attention" to the production of what he referred to as "the Jew film". As early as 1938, Goebbels had wanted to have a film crew travel to Poland to shoot the ghetto scenes; however, he was unable to gain permission from the Polish government. In October and November 1939, almost immediately after the German/Soviet invasion of Poland, he instructed Hippler to send camera crews to ?ód?, Warsaw, Cracow and Lublin to shoot footage of Polish Jews.

The footage that Hippler shot in the Jewish ghettos of those cities in German occupied Poland was the only footage shot specifically for the purpose of the film. At the beginning of the film, animated text informs the audience that this "documentary footage" shows Jews in their original state "before they put on the mask of civilized Europeans." In the Nazi press, Hippler expanded on this claim, asserting that his filming techniques captured Jews "in an unprejudiced manner, real to life as they live and as they react in their own surroundings."

Although Hippler advertised the film as being a factual documentary consisting of pictures of real Jews with nothing faked or simulated, his claims were complete falsehoods. In reality, the film was an exercise in manipulation for the purposes of propaganda. In shooting his footage, Hippler did in fact simulate scenes and use actors who were performing under duress and without knowledge of how the footage would be employed. For example, in order to get shots of Jewish worship services, Hippler and Goebbels assembled the congregation of the Vilker synagogue, ordered them to wear the tallithim and tefillin and hold a full-scale service. When the Germans ordered the Torah reader to read from the Torah, he started by saying on camera "Today is Tuesday" signalling that his reading of the Torah was coerced since it was not customary to read the Torah on Tuesdays.

Aside from the footage shot in Poland, the rest of the film consisted of stills and archival footage from feature films (often without permission) that the film presented as if they were documentary footage.

The movie was produced in a documentary format and, like other Hippler films, relied heavily on narration.

The film can be roughly divided into four thematic areas:

• Recordings from Polish ghettos
• Enumeration and evaluation of numerous political, cultural and social values in the international arena of Jewish origin
• Religious ceremonies, religious instruction, worship, ritual slaughter
• Adolf Hitler's Reichstag speech, parading SA troops

Richard Barsam writes the film's "essential contrast is between myths and stereotypes of Jews and the Nazi ideal of a 'master race,' between the alleged inferiority of the Jews and the superiority of the Germans." According to Stephen Fritz, Goebbels' intent was to create a film that would serve as "both a demonstration of the parasitical nature of the Jews and a justification for drastic measures against them." Maria Tatar writes that the Nazis were able to use Hippler's film to "position the victims of their genocidal project as dangerous aggressors who had to be exterminated." Similarly, Barsam describes the film as arguing that "Jews are criminals;... they have no soul;... they are different in every way;... killing them is not a crime, but a necessity—just as killing rats is a necessity to preserve health and cleanliness."

Unser Wille und Weg, a Nazi Party monthly publication aimed at propagandists, provides a rationale for why The Eternal Jew was made. The author of the essay "The Film of a 2000-Year Rat Migration," who remains anonymous, believes the film shows "a full picture of Jewry" and provides "the best treatment of this parasitic race." The author connects the Jews' migration from the Middle East to Egypt and their following of German colonists to rats traveling as a group, who "even then displayed the same criminal traits that they still displayed". The film is complimented for "its portrayal of the Jews' vulgar methods and the brutality and all-devouring hatred they exhibit when they reach their goal and control finance." The slaughtering method causes the author to question the "so-called Jewish religion", as butchers do their work with grins on their face. In closing, the author states the film will be a valuable tool in the struggle to break the Jews' "power over us. We are the initiators of the fight against world Jewry, which now directs its hate, its brutal greed and destructive will toward us. We must win this battle for ourselves, for Europe, for the world."

Jews as an uncivilized and parasitic people

Richard Taylor describes the basic tenet of the film as arguing that "the Jew is an oriental barbarian who has insinuated himself cleverly into European society, and now exploits it parasitically." This point is emphasized throughout the film, starting from the very opening lines of the film's commentary:

The "civilized" Jews that we know in Germany give us only an incomplete picture of their racial character. This film shows genuine shots of the Polish ghettos. It shows the Jews as they really are, before they conceal themselves behind the mask of the civilized European.

Following this commentary, the film provides a succession of scenes in which Jews are portrayed as an uncivilized, parasitic people with low social standing. The images were mostly shot on site in the Warsaw Ghetto and other Polish ghettos, showing subjects who were deliberately chosen to be poorly dressed, dirty and who had partially toothless grins. The locations shown are dirty and infested by vermin. Robert Reime