“He was always the exact opposite of me,” Goering said after the war in his Nuremberg prison cell an American psychiatrist. “He was not interested in politics or the military; Me, yes. He was quiet, withdrawn; I love crowds and sociability. He was moody and pessimistic, I am an optimist. But he’s not a bad guy, this Albert. “This Albert was the younger brother of the Nazis, who was one of Hitler’s first followers, the air force commander and the number two behind the” leader climb “. And this Albert was – unlike Hermann – anything but a “bad guy”: The Nazi ideology he refused rigorously and saved many Jews and non-Jews living. At least 35 names are guaranteed. But recognition never knew Albert Göring it. He died in 1966, impoverished and forgotten.
It was not until decades later, the late nineties , discovered a British documentary history of the unequal pair of brothers; later it did him an Australian journalist and a British historian with two but little productive biographies equal. Now, the first wants to make with his documentaries “The good Goering” that we in this country remembers the younger, who embodied everything that did not show the Elder: Humanity in particular but also a delicate elegance and sensitivity, where the others showed off his medal and a ruthless extermination ideology followed.
The Americans he would not believe
To this so unequal brothers represent, one could hardly imagine a better cast than Francis Fulton-Smith in the role of the Reich Marshal and Barnaby Metschurat as Albert Goering. That Fulton-Smith can almost physically exude a character, he has brilliantly proved when he played Franz Josef Strauss. When Goering, who hardly needs the rasping vocal imitation, he finds in Metschurat an opponent occurring equally fragile as decided.
In five historically documented encounters, we see the brothers meet. In the first – the funeral of her mother – Hermann is a washed-Air Force Veteran of World War I who needs new perspectives and takes place at Hitler. Albert is as a young engineer and bon vivant on the go in his second marriage. For the last time the two meet each other in prison, as the Americans did not want to believe that Albert was not a Nazi and Hermann already arrangements for the period after his death hits: His brother should take care of his widow and daughter, he asks him. Albert says to.
brought by the brother of the Gestapo prison
This all works fine chased, and it is equipped with dialogues (Book: Jörg Brückner, Gerhard Spörl) who want to dissect out with a sense of contemporary language, as probably was: to see the enemy in the brother and yet remain part of a family. Natalia Wörner occurs as a movie star Henny Porten, Anna Schudt as Hermann’s second wife Emmy sun man gives a brilliant performance as a spouse who closes his eyes to what her husband really does. Yet the scenes directed by Kai Christiansen remain strangely lifeless. They appear arranged like test arrangements – perhaps because they want to stay close to the historical material, from its origin, nature and scope we unfortunately know nothing. At the funeral of the mother no tears flowing, the dialogue is in the foreground. Such oddities put something Unwahrhaftiges about what play and yet should act documentary.
Impressive are the opinions of the witnesses. The daughter of Albert Goering remembers a difficult brief natural father, children Rescued as the aged George Pilzer speak of a, was worshiped, a hero. Albert has repeatedly used his last name to snatch people oppressed by the regime. Maybe he even brought prisoners from Theresienstadt. Several times he landed himself in Gestapo arrest – and was taken out by Hermann again. “The good Goering” touches most of it only. But the pro and contra of the brothers also provides material for more than a movie.
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