Mikel Rotaeche I saw this film in the 1970's in Madrid Filmoteca Nacional when i was a student. I have seen it again now, in August 2013. The film was then a novelty in its structure and ways of communicating things, I mean what in art theory is called the "form". But I think that after all these years, it is time to discuss the "content" of the film. Indeed, the film is full of fuzzy situations, texts read while another voice talks in the background, and so on. The film is divided into four parts, each 90-120'. The two first parts have several good ideas, as to display the sound of a real Hitler speech dealing about the greatness of Germany, while he is working painstakingly painting a wall. Another good idea is to show an actor acting as the servant of Hitler and telling his everyday life, or another one representing the private film projectionist of Hitler, who tells his preferences. But the two last parts of the film are long monologues, lists of arguments in favor of the Nazis. When you have these arguments presented in short passages, and as deliberately cynical utterances, it is OK. But when the arguments go on during two or three hours, then it is too much, and one starts to be suspicious about the author. He reaches the top of what can be bearable for me when, near the end of the film, and shortly after having mentioned the Hiroshima and Nagasaki bombs, a puppet representing Hitler asks: "What have you done with the World after me?". And one of the last sentences shown in the screen is "After the journey into the World, who is nearer to God than the guilty?". I am sorry, but what I passed over when I was young, is unbearable for me, and makes the author openly suspicious.

noorym I first have to say that I have a real fascination with Hitler. NOT admiration, fascination. This film was given to me by a friend who shared this intrigue. Rininger, upon giving me this film said "you are absolutely going to love this" Truer words will never be uttered. My friend passed away a few days ago, and I will be forever grateful that he introduced me to this (in my opinion)masterpiece of film making. This film is definitely not for everyone. But those who are able to take heavy doses of beauty and provocative discourse this film is a must. I was absolutely riveted the first time I saw it and continue to return to it on a regular basis to take whatever dose time might permit. The sets are to my eye breathtakingly wonderful. Despite the fact that I don't understand more than a word of German is a none issue. I find that I can ignore the subtitles and lose myself in the sheer passion. This film communicates on so many levels that it is impossible to walk away from it empty. It will probably take many many viewings before I can even scratch the surface of this films visual richness and cultural significance. I highly suggest the viewing of this film for any seriously art minded persons. John R. I thank you for alerting me to this delicious slice of experience. Love ya man.

aliasme I came across this film by accident whilst trying to locate another German made film and on discovering that the entire 7 hours is available free in real-time I began to watch. Those seven hours flew by and by the end I was left feeling stunned and somehow very insignificant. This is not a film to invite a few pals round for and throw pizza and beer in for good measure. This is a film to watch alone or maybe with someone who is interested in cinema as a means of transcending time and place. The images and audio presentations you will see and hear may well change your perceptions on life itself. Why this film is so little known is a mystery and perhaps it is only for the few and not the masses. It hits a spot somewhere deep inside and nestles in there and will never be entirely removed. See it and understand why 80 million Germans believed Hitler, a maniac, became for many, a god.

batzi8m1 Warning. This is not a movie for an evening of entertainment. Its is 8 hours of surreal images about mass media combining with trivialized pop culture versions of German romantic irrationalizm to create that phenomenon called Hitler, which will never leave the dark corners of human nightmares and the strange world of pop mythology.I've seen this film twice in a cinema (Berkeley, CA) when it came around. Obviously people willing to subject themselves to eight hours of surrealist images about Hitler as the Great Communicator (the original for you Reagan fans) are going to go in a bit prejudiced. I had not yet seen any other Syberberg films nor read anything about him or his films, as I wanted to experience this for it's own sake without preconceived notions. After intermission, my friend, a warehouse manager, and I couldn't wait to see the rest. The same was true when it returned a few years later and I saw it with an artist friend, who was even more excited. We heard similar buzz from the people around us at intermission. This movie was something special, and after all these years, having re-read the screenplay and amazed at the images, I'd see it again for an all nighter. But I don't really have to because I can replay most of the scenes in my head at any time -- they were that striking and memorable. I guess part of that may have to do with the fact that I am born German, and was once a student of modern German literature, theater, art and lived in Munich when artists like Handke, Thomas Bernhard, Max Frish, Fassbinder, Herzog, Wenders and Syberberg challenged the status quo and awoke Germans to the idea that there is something else besides Brecht, Grass and sighing the Mea Culpa over the Third Reich.Syberberg had already done films that were hard to get shown (this was before the Video Revolution) and with Hitler he really went overboard. This film could never be a commercial success, but it was worth the making and seeing. It creates images, meant for someone who is steeped in German mythos while at the same time aware of the changes wrought on world media by Edison's invention of the moving pictures. Combine these with mass communication capability, the capability to entrance the masses with the images they want to identify with is the history of both Hitler and Movies. So for eight hours Syberberg bombards the viewer with images of the Black Mary (Edison's studio) as a backdrop, Hitler rising out of Wagners grave in a Roman toga, Radio tranmissions of SS Troopers singing Silent Night direct from Stalingrad, touching personal reminiscances by Hitler's butler of how he liked his underwear pressed, his projectionist eating a sausage picknick at the old Eagle's Nest talking about what a nice regular guy his old boss was.In short, this movie fills the viewer with indellible images of the capability of mass media to suck in the viewers, give them a sense of intimacy, and trivialize mass murder from a "real life human perspective." No single scene or sermon or 90 minute expose of Auschwitz can ever hope to drive home the real insanity of the mass delusions which created the greatest tragedy of this century. And for Germans the constant cleansing and coping escapism of the post war era (It wasn't us, it was those few bad guys that are now dead) needed a real response by the generation that was born afterwards. And the only way Syberberg could do that was to let all those images of the collective German memory of the great history of its irrationalism and romanticism fight against the attempt to rationalize it's rape by their own philestines.Memorable quotes include the famous "Every time I hear the word Art I reach for my pistol."Particularly good are Andre Heller as the melancholy narrator, the dialog between Himmler and his masseur, Christmas stories, and touching human stories about Hitler and his beloved doggies. Those skits are kind of like a news magazine story about the human side of John Wayne Gacey as Bunel and Dali might have filmed it.