This film was the first to have its premiere after Hitler became Reichskanzler (prime minister), so it is not a nazi film by itself but produced and censored before. The owner of the producing company (Hugenberg) was head of the monarchist DNVP (german nationalist peoples party), so the makers views displayed in the film are 'compatible' with the context (imperial Germany in WW1).The sometimes stilted way of talking is oldfashioned but authentic or even moderated(see below). The technical accurateness of the film is stunning (a hallmark of german sub movies). The warships are real (german T-boats equal to WW1 destroyers, a light cruiser and the last riveted german sub design based on a war type). The events in the film are based on specific real cases or (as the rumour spreading in the village) 'true to original'. E.g. the sinking of the cruiser en route to Russia resembles the death of Lord Kitchener, whose ship was sunk either by a mine layed by a sub or by a subs torpedo (unclear because the sub never returned home). The encounter with the Q-boat and the scene with more men than Tauchretter (emergency diving gear) 'everybody or nobody!' happened several times in reality. So this film is probably the most realistic sub movie ever made. But the film gained a very bad reputation, because nazi propaganda used it for its own purposes (including glorifying heroic death). Goebbels ordered one cut to be made: After the successful sinking of the cruiser the sub commanders mother (Adele Sandrock) refuses to celebrate with the officials because 'So many innocent people were killed just because they did their duty as our people do.They too had relatives now mourning the losses.So we should not gloat but thank god that this time our relatives will come back alive.'. This seemed unacceptable, so this scene was removed. After the war it was put back and another scene got removed: On one occasion, when the commander is forced to hold a patriotic speech he says 'About once a century a country needs a great war like a cleaning thunderstorm to stay united and not to become decadent'. Both cuts I consider as questionable. While it is quite doubtful if any common person in WWI would have said that killing the enemy is nothing to celebrate (so the film ist more moderate than reality instead of vice versa), the opinion 'too long peace results in especially nasty wars' was common and has some of truth in it. Conclusion: This film should be shown without cuts but maybe with some background information. It is in my opinion the best Sub movie made in Germany (far superior to 'Subs westward ho' [crude propaganda] and 'the boat' [even the books author complained about adulterations]),to say nothing of Hollywood junk like 'U 571'.
5 Reviews
The Fox And The Hound
boblipton8 July 2020
The small town gathers to cheer the departing heroes, officer and crew of a submarine in the Great War. Then it turns into two movies: the men on the submarine, as they hunt a ship in the Atlantic that will bring supplies and personnel to Russia, and then become the prey of a spy ship; and the people -- mostly the women -- left behind to worry and grieve and get on with the daily routine of life and war.
It has two directors: Gustav Ucicky, at the peak of his fame and power (he would wind up in Vienna after the Anschluss. His directing would tail off, only to begin anew in 1947), and Vernon Sewall,. Sewall would not receive another directing credit for ten years, although he would be a key player behind the camera, part of the team that made EDGE OF THE WORLD
The result is a well-made movie, an early talkie submarine movie that includes most of the tropes of submarine movies to this day: the cramped space; the constant companionship of death; the nearly sexual ecstasy when torpedoes sink the enemy craft, and the dull, blank despair of a mortally wounded submarine with its crew trapped within. THe crew refer to the boat as a living thing, stubborn and defiant, and the movie makes it easy to see why. For 1931, it's an amazing film. It's still very good ninety years later.
It has two directors: Gustav Ucicky, at the peak of his fame and power (he would wind up in Vienna after the Anschluss. His directing would tail off, only to begin anew in 1947), and Vernon Sewall,. Sewall would not receive another directing credit for ten years, although he would be a key player behind the camera, part of the team that made EDGE OF THE WORLD
The result is a well-made movie, an early talkie submarine movie that includes most of the tropes of submarine movies to this day: the cramped space; the constant companionship of death; the nearly sexual ecstasy when torpedoes sink the enemy craft, and the dull, blank despair of a mortally wounded submarine with its crew trapped within. THe crew refer to the boat as a living thing, stubborn and defiant, and the movie makes it easy to see why. For 1931, it's an amazing film. It's still very good ninety years later.
Debut of the Third Reich
freddyschmitz31 March 2021
Warning: Spoilers
"Morgenrot" was the first film released in the Third Reich and is generally perceived to be a concession to the new regime by director Gustav Ucicky. The debut film of the new germany retells the heroic submarine struggle against the adversaries of former German Empire in austere but nevertheless deep cutting fashion.
Ever since the real war documentary "With Our Heroes on the Somme" which was shot in 1917 on the western front during World War 2 german filmmakers have been more interested in the technical aspect of warfare then petty personal dramatizations. In aforementioned front-line-report we see artillery, distant explosions and men at work, whose faces can't be seen, making sure the mechanical beasts keep breathing fire. Contrast this with the british counterpart "Battle of the Somme" which limits its eyes to human form. "Morgenrot" manages to combine both man and machine into a compelling war tale.
In germanic spirit routine work is shown carried out inside a claustrophobic, mechanized war machine deep under the sea. Every crew member functions like clockwork. The lack of agitation is not to be mistaken for a lack of concern or courage. Survival requires diligence and not effeminate hysteria. We see a crew that primarily fights to execute orders efficiently and make sure everyone sees their home again. More abstract ideals like love for ones nation and volk and perennial justice are rarely mentioned but are nevertheless there. They are unseperably fused with the warrior not needing constant explicit mention. Concern for ones brothers in arms, united in a common ideal constitute a real Männerbund.
The climax encapsulates "Morgenrot" perfectly. While the mechanized war machine is obviously superior to man on the mere physical plane, the lesser war, man can strive for something higher than the mere material, including ones mundane life, which constitutes the higher war. The submarine is hit. The mechanic beast is now an iron prison. There are only eight diving suites for ten men. Fear sets in and is quickly overcome. The crew mellowly decides to perish rather than leave a comerade behind. Two men make the ultimate sacrifice to ensure the units survival so they may fight on and (at least) the higher war is won.
Ever since the real war documentary "With Our Heroes on the Somme" which was shot in 1917 on the western front during World War 2 german filmmakers have been more interested in the technical aspect of warfare then petty personal dramatizations. In aforementioned front-line-report we see artillery, distant explosions and men at work, whose faces can't be seen, making sure the mechanical beasts keep breathing fire. Contrast this with the british counterpart "Battle of the Somme" which limits its eyes to human form. "Morgenrot" manages to combine both man and machine into a compelling war tale.
In germanic spirit routine work is shown carried out inside a claustrophobic, mechanized war machine deep under the sea. Every crew member functions like clockwork. The lack of agitation is not to be mistaken for a lack of concern or courage. Survival requires diligence and not effeminate hysteria. We see a crew that primarily fights to execute orders efficiently and make sure everyone sees their home again. More abstract ideals like love for ones nation and volk and perennial justice are rarely mentioned but are nevertheless there. They are unseperably fused with the warrior not needing constant explicit mention. Concern for ones brothers in arms, united in a common ideal constitute a real Männerbund.
The climax encapsulates "Morgenrot" perfectly. While the mechanized war machine is obviously superior to man on the mere physical plane, the lesser war, man can strive for something higher than the mere material, including ones mundane life, which constitutes the higher war. The submarine is hit. The mechanic beast is now an iron prison. There are only eight diving suites for ten men. Fear sets in and is quickly overcome. The crew mellowly decides to perish rather than leave a comerade behind. Two men make the ultimate sacrifice to ensure the units survival so they may fight on and (at least) the higher war is won.
An Old World War I Submarine Movie from the German Perspective
Uriah4316 December 2023
This film essentially begins during World War 1 with three submariners "Kapitanleutnant Helmut Liers" (Rudolf Forster), "Oberleutnant Phipps Fredericks" (Fritz Genschow) and "Seaman Jaul" (Paul Westermeier) being proudly cheered by the citizens of their small hometown just prior to their catching the train to return to duty. Although the wife of "Seaman Jaul" (Paul Westermeier) is sad to see him go, she isn't overcome with fear for his safety due to the fact that she is convinced he will return to her alive and well. Conversely, "Helmut Liers' mother" (Adele Sandrock), who has already lost two of her sons in this war, is definitely concerned and would prefer that he resign from the Imperial German Navy to help manage the business left to her by her deceased husband. Likewise, another woman by the name of "Grete Jaul" (Camilla Spira) is also concerned but, although everyone assumes she is worried about the safety of her supposed boyfriend Phipps Fredericks, she is secretly in love with Helmut Liers--who is Phipps' senior officer--and this has the potential of causing problems further on down the line. Now, rather than reveal any more, I will just say that, despite the propaganda aspects of this film, this turned out to be a pretty good submarine movie for the most part with extremely good action scenes for its time. Also worth note is the manner in which the director (Gustav Ucicky) captured the horrible waste brought on by the war by inserting a scene depicting a train filled with soldiers going off to war with passing another one containing those severely injured headed in the opposite direction. Whether the government censors fully appreciated this depiction of this particular tragedy of war is not known to me. In any case, although the film definitely shows its age, I enjoyed it for the most part, and I have rated it accordingly. Slightly above average.
Ufa co-operated with Finnish Army
jari-sedergren-127 May 2008
Outdoor U-Boat scenes in Morgenrot were filmed in Helsinki, Finland in co-operation with Finnish Army. Finland was the only country in Europe to allow Ufa to use her U-Boats for filming.
Liason officer was Heikki Parkkonen, head of filming in Finnish Army and also another member of his staff, photographer Vilho Armas Pentikäinen took part of filming. Parkkonen did actually part of shooting for the film. Later was found that Pentikäinen was spying for Russia. He defected in 1933 to Russia.
Parkkonen and navy commanders Eero Rahola and Akseli Raninen took part of Berlin festivities of film premiere in January 1933.
Liason officer was Heikki Parkkonen, head of filming in Finnish Army and also another member of his staff, photographer Vilho Armas Pentikäinen took part of filming. Parkkonen did actually part of shooting for the film. Later was found that Pentikäinen was spying for Russia. He defected in 1933 to Russia.
Parkkonen and navy commanders Eero Rahola and Akseli Raninen took part of Berlin festivities of film premiere in January 1933.
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