German Film Society Revokes Honors for Nazi-Era Figures
The Society for German Film History (SPIO) has taken significant action to address its past, revoking the Medal of Honor from four individuals with documented ties to the Nazi regime: Leni Riefenstahl, Ludwig Waldleitner, august Arnold, and Heinz Rühmann. The move follows a complete ancient report commissioned by the SPIO, authored by Bernhard Gotto of the Munich Institute for Contemporary History, examining the involvement of 89 figures in the Nazi era.
The report details a troubling pattern of complicity and opportunism within the German film industry during the Third Reich. While not all figures where active members of the NSDAP, many demonstrably benefited from and actively supported the regime. Riefenstahl, famed for her visually stunning but ideologically charged documentaries of Nazi rallies and the 1936 Olympics, was specifically cited for propagating Nazi ideology “in a particularly exposed form.” The SPIO previously awarded her the Medal of Honor in 2002, a decision now deemed a “serious mistake” in light of rising right-wing extremism.
The investigation revealed a concerted effort by some to downplay or outright falsify thier Nazi pasts. Producer Ludwig Waldleitner, for example, falsely claimed to have left the NSDAP, while in reality, he remained a member and leveraged his party connections to advance his career, even benefiting from protection during the post-war denazification process. Similarly, ARRI co-founder August Arnold actively sought favor with the Nazi regime, advertising his prior filming of a Nazi party conference as early as 1933, and the company employed individuals deeply involved in the Nazi movement.
The case of actor Heinz Rühmann is more nuanced. Though he never joined the NSDAP,the report states he was “loyal to the system,” enjoying privileges and the esteem of high-ranking Nazi officials.He faced accusations of divorcing his Jewish wife for career advancement, but reportedly arranged a sham marriage for her and provided financial support during her exile in Sweden.
Gotto’s report paints a “dismaying” picture, concluding that while the SPIO wasn’t uniquely riddled with nazi sympathizers, it mirrored a broader societal “callousness towards the suffering of the victims” that allowed compromised individuals to continue their careers in post-war germany. Approximately 40% of the figures examined could not be definitively assessed due to lack of reliable information. Though,13 filmmakers were classified as “incriminated,” having been involved in persecution,enrichment through “Aryanizations,” war crimes,or utilizing film to serve the goals of the Nazi regime.
The SPIO’s decision to revoke thes honors is presented as a “clear signal against the resurgent right-wing extremism, but also against every other form of extremism, racism, discrimination and hate speech,” demonstrating a commitment to confronting its own history and upholding ethical standards within the German film industry.
