The Architecture of Doom
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Featuring never-before-seen film footage of Adolf Hitler and the Nazi regime, The Architecture of Doom captures the inner workings of the Third Reich and illuminates the Nazi aesthetic in art, architecture and popular culture. From Nazi party rallies to the final days inside Hitler's bunker, this sensational film shows how Adolf Hitler rose from being a failed artist to creating a world of ponderous kitsch and horrifying terror.
Hitler worshipped ancient Rome and Greece, and dreamed of a new Golden Age of classical art and monumental architecture, populated by beautiful, patriotic Aryans. Degenerated artists and inferior races had no place in his lurid fantasy. As this riveting film shows, the Nazis went from banning the art of modernists like Picasso to forced euthanasia of the retarded and sick, and finally to the persecution of homosexuals and the extermination of the Jews. Architecture of Doom is part of the Hitler and the Nazis box set.
A Masterpiece of scholarship and imagination. --Variety
- Features never-before-seen film footage of Hitler and the Nazi regime
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Cohen argues that the Nazi project was that of producing a better and more beautiful human being and race, a project that integrated art and the science of the day. The Nazi aesthetic was not just propaganda to get people to become committed Nazis, but was a goal in and of itself, from the earlier optimism of producing a better humanity (or at least Aryan race) to Hitler's eventual--but not unmotivated by earlier commitments--desire for an ending befiting classical tragedy.
The beginning is marvellously done. The portrayal of Nazism is so sympathetic that one is drawn in, and may even wonder if the film maker does not have Nazi sympathies. Any such wonder disappears within twenty minutes, but the film maker's ability to see what was so attractive about the Nazi project is crucial to the success of the film. In the end, one realizes that the Nazi project was evil in a way simultaneously subtler and yet deeper than one may have thought at the outset.
The film maker never draws parallels with our time. Still, the film should make one reflect on how the desires for perfect human beings and for the elimination of the imperfect are manifested now.