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tolerance in for classic films


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What I'm about to talk about I'm not trying to make you agree with me in fact you can disagree with me. When a bunch of smart actors and actresses Left Germany in 1933 because of Old Mustache, Club foot shrimp was worried.He did not know how to produce films," isn't that too bad'. He sent foolish film maker to go to Hollywood to study. This is how How Hollywood and U.S.A. was nieve at the time. To study the film Industry, Director Paul Martin. The first thing he saw was Columbias," It Happen one night. Instead of creating something original, Club Foot copied it .Lucky kid and made it into some what of a musical. Starring Willy Fritz and Lillian Harvey ,whom when she left Germany in 40 after she rescued a few Jewish to Switszerland went back to the U.S and years later admitted that her biggest mistake she ever made was doing films in Germany, portay the Clark Cable and Claudette Colbert role. They were the heart throb of German teenagers. Paul Martin was so envious of the original that He added in Willies dialog that he wished he was Clark Gable, The big song hit of the film were,"I wish I were a chicken". . It's been recently upgraded by original 35 mm elements from F. W. Marnau Institute.

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Mr. McGee, as someone who has struggled over many years to express myself in languages other than my own, I can sympathize with your predicament. However, I'd suggest you enlist someone to help you express your thoughts in comprehensible English. Otherwise people may misunderstand what you are trying to say or misconstrue how you view the period you are writing about. I know a little bit about the period and the actors you mentioned. (It's Willy _Fritsch_, by the way.) But I can only guess who "Clubfoot Shrimp" is - Joseph Goebbels?


In any case, Willy Fritsch and Lilian Harvey made movies together, including their best-known ones, before Hitler and his gang came to power and drove many talented people in the German film industry to emigrate. Wikipedia says the Gestapo kept Harvey under observation because she continued to receive Jewish friends and colleagues in her home, and as you noted, she emigrated, first to the South of France and then to Hollywood. The Nazis took away her German citizenship in 1943.


Hers is an interesting story (as is, e.g., Leslie Howard's) and the impacts of totalitarian politics on cinema in this period might make for an interesting discussion, but only if there were enough people interested, and only if presented in a readily understandable manner.

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