Bykevin stewart, writer at
From Mattel's Viewmaster to a master of viewing, writing and expression
kevin stewart

Having never seen SCHINDLER'S LISTS I almost hesitate mentioning it. Yet I must since this posts is about movies where allied forces penetrate behind Nazi enemy lines. Then again I am concerned with the increasing move away from focusing on the atrocities committed against the Jewish people and toward other sinister plots hatched by the Nazi to do the world harm. Indeed every since Oliver North's AWARD WINNING “PLATOON (albeit a war movie about the war in Vietnam none the less one of the first made without the blessings of the war department who withheld footage from Oliver North) the nature of War movies has changed from the jingoistic variety type of THE DIRTY DOZEN to the more character driven plots and the studies of documentary accounts of select campaigns. Examples of the new trend include Steven Spielberg's SAVING PRIVATE RYAN, Spike Lee's MIRACLE AT ST. ANN'S and of course Tarantino's INGLORIOUS BASTARDS. {the poster from the original is featured herein}'

Yet there are two films that are often left off the list of popular war movies. One is a straight documentary entitled THE RAPE OF EUROPA. It was in this 2006 Documentary that this writer first learned of the Nazi plan to horde world class art after its plummeting of French art galleries as well as those of other cites occupied by them during the second world war. Many know of the Nazi plan to rid Germany itself of art it considered “DEGENERATE”. But few know of its confiscation and hording for resale painting liberated from mountainous hide-a-ways by the allied forces. The other film left the seems absent is the 2007 ACADEMY AWARD WINNER OF THE BEST FOREIGN LANGUAGE film THE COUNTERFEITERS. This true story hailed as the largest counterfeiting operation ever. In this heroic tale we learn of a criminal master mind who along with other Jewish captors are forced to counterfeit the British pound and the American dollar in exchange for their very lives. Not unlike Meryl Streep's tear jerking portrayal of a women haunted by similar circumstances in Alan Paluka's SOPHIA'S CHOICE 1982, THE COUNTERFEITERS explores territory that personifies the moral dilemma evolved in the face of genocide. While we await the arrival of movies that deal with the atrocities committed by the allied forces. Accidentally and intentional ones like the American fire bombing of the German city of Dresden. A city then known to be without any German war making facilities, we continue to expand our historical accounts of Nazi horrors minus the jingoistic cinema variety yet critical of the holocaust.


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