This monumental film in Agfacolor (ironically a German patent) was shot in 1949 to celebrate Stalin's greatest triumph, the victory over his arch-rival (and former ally) Hitler and the capture of Berlin by the Red Army in April/May 1945. The film's blatant, plump propaganda and hilariously absurd dramaturgy make it a gem of unintentional humor and thus very entertaining to watch, especially if you are aware of the true historical background behind the massive distortions.
Stalin, in fact one of history's most feared and ruthless mass-murderers, appears as some kind of benevolent, peace-loving demi-god all dressed in a white gala uniform, who never loses his temper, is always in control of the situation and stays at the same time a wise and likable grand-daddy who despite his infallible greatness has not lost his touch with the common people, who of course idolize him like crazy. In comparison to him Churchill and Roosevelt look like senile and disoriented losers, while Hitler is being portrayed as a raving cartoon maniac straight out of THE GREAT DICTATOR.
The other characters which are supposed to be "common Russian people" are nothing more but schematic cardboard stereotypes following the ideals of the communist-stalinist doctrine with unflinching enthusiasm and no real life of their own. German civilians appear only briefly in the end of the film, finally condemning their Führer. Not shown of course are the atrocities committed by the Red Army as they entered Berlin, especially the mass rapes of women and girls of all ages; Jewish victims of Hitler are curiously not mentioned at all, and neither is of course the Sowjetunion's decisive part in causing the outbreak and escalation of WWII. Mixed up in this is a kitschy love story with loads of unbelievable plot points (the hero does not only kiss the heroine for the first time exactly when the Germans invade completely out of the - literal - blue, he also rescues her from a concentration camp AND meets her again in the victorious crowd in the streets of Berlin).
The film may also have the distinction of being the very first in the "Hitler's Last Days in the Bunker"-Subgenre. Others to follow were G. W. Pabst's DER LETZTE AKT (1955), Hitler: THE LAST TEN DAYS (1973), THE BUNKER (1981), 100 JAHRE ADOLF Hitler - DIE LETZTE STUNDE IM FÜHRERBUNKER (1989) and DOWNFALL (2004). Notable is also the wonderful score by Shostakovitch, a great artist serving once again the totalitarian lie. Of course, beyond the campy propaganda fun the underlying immense tragedy of the incredibly atrocious Soviet-German-War should always be kept in mind when watching.
Stalin, in fact one of history's most feared and ruthless mass-murderers, appears as some kind of benevolent, peace-loving demi-god all dressed in a white gala uniform, who never loses his temper, is always in control of the situation and stays at the same time a wise and likable grand-daddy who despite his infallible greatness has not lost his touch with the common people, who of course idolize him like crazy. In comparison to him Churchill and Roosevelt look like senile and disoriented losers, while Hitler is being portrayed as a raving cartoon maniac straight out of THE GREAT DICTATOR.
The other characters which are supposed to be "common Russian people" are nothing more but schematic cardboard stereotypes following the ideals of the communist-stalinist doctrine with unflinching enthusiasm and no real life of their own. German civilians appear only briefly in the end of the film, finally condemning their Führer. Not shown of course are the atrocities committed by the Red Army as they entered Berlin, especially the mass rapes of women and girls of all ages; Jewish victims of Hitler are curiously not mentioned at all, and neither is of course the Sowjetunion's decisive part in causing the outbreak and escalation of WWII. Mixed up in this is a kitschy love story with loads of unbelievable plot points (the hero does not only kiss the heroine for the first time exactly when the Germans invade completely out of the - literal - blue, he also rescues her from a concentration camp AND meets her again in the victorious crowd in the streets of Berlin).
The film may also have the distinction of being the very first in the "Hitler's Last Days in the Bunker"-Subgenre. Others to follow were G. W. Pabst's DER LETZTE AKT (1955), Hitler: THE LAST TEN DAYS (1973), THE BUNKER (1981), 100 JAHRE ADOLF Hitler - DIE LETZTE STUNDE IM FÜHRERBUNKER (1989) and DOWNFALL (2004). Notable is also the wonderful score by Shostakovitch, a great artist serving once again the totalitarian lie. Of course, beyond the campy propaganda fun the underlying immense tragedy of the incredibly atrocious Soviet-German-War should always be kept in mind when watching.