Like a dark demon flapping across the screen, Barry J. Hershey's `The Empty Mirror' takes a fascinating look at the mind of Adolph Hitler. Bizarre, surrealistic and staged more like a play than a movie, Hershey weaveslive scenes of Hitler (Norman Rodway ) looking back at his life, apparently after his death, while 1.) dictating a book, 2.) Reminiscing with former cohorts, and 3.) being analyzed by Sigmund Freud. All the while, newsreel footage of Hitler's glory days is playing in the background.
SPOILERS AHEAD
Hershey weaves an amazing tapestry of cinematic work. Yet it is difficult and ambiguous to interpret. Most likely he intended it to be so. It took two viewings for me to form opinions as to what his take really was on Hitler and his legacy.
Most of the two-hour movie shows Hitler happily lecturing school children, Eva Braun, Joseph Goerbels and Herman Goerring, debating with Dr. Freud and dictating to his typist. All the while, German propaganda films run in the background. I wish I had gotten out my typewriter, to capture some of the soundbite-like quotes Hershey's Hitler made, regarding media and image. Calling himself `the greatest actor in Europe,' he speaks of `playing the fuhrer role,' which, he claims, he later finds to fill a distinct need within the German people's collective psychic.
The carefully choreographed images will make him immortal, he brags. His business has been creating and maintaining an image. This notion is returned to again and again and seems to play a poignant role in the end of the film. Of course Hitler's recognition of and use of film certainly cannot be denied.
Hitler looks back at his life and career as he relaxes with Braun (Camile Soeberg), looks over newsreel footage and model cities with Goebbels (Joel Gray) and Goering (Glenn Shadix) and dictates his book. Of course, from time to time, Freud (Peter Michael Goetz) pops up and begins probing his mind.
It is difficult especially on first viewing to determine what Hershey is about. If one were forced to miss the last several minutes of the film, it would be easy to believe Hershey is actually defending Hitler. Some unlikely thoughts are put in Hitler's mouth as he reflects on the turn of the tide in Russia in late 1941. He seriously considered calling a worldwide peace conference, Hitler says, or of retiring to spend more time painting! `Let someone else play the Hitler role!' he fumes. This is certainly provocative and original material as unlikely as these sentiments seem for the man.
As the film progresses, his cohorts and underlings gradually begin to question bits and pieces of Hitler's grand designs. Freud's questions become more penetrating. As the fuhrer's reflections reach the downfall of the Third Reich, he seems to get more defensive and Rodway visibly ages in the end looking much older than Hitler was at his death.
Although Hitler and Goering earlier discuss the death totals, opting to pad the numbers to `an even' six million Jews killed, out of 12 million total (They seem inclined to point out that about as many Christians were put to death as were Jews.), Hitler cannot escape the blood on his hands. Eventually a tide of blood, in a very dramatic flurry, busts through the stone walls of his sanctuary and drowns him in a crimson tide.
The movie does not end there, though. It continues with Hitler reflecting more, now quite old and worn down. Finally, in a bizarre scene just before the end, he manages to stick his hands into and through the giant newsreel images on the wall. Apparently in pain and panic, he has to fight to remove his hands. This, again, seems to return to the idea of Hitler being merely a man trapped in a PR image that got away from its creators like a runaway snowball. On first viewing this struck me as reminiscent of the final days of Howard Hughes. Both were old men, once the most powerful (or wealthy) man on earth, now alone, nearly mad, trapped in a projection room with flickering images of his past.
I am not certain whether Hershey is really suggesting this, or if he is merely conjecturing on what excuses Hitler might have tried to use, had he been given a post-life opportunity to defend himself before the world. I was also not certain, on first viewing, of where exactly he WAS during this film. Upon second viewing, though, I have to conclude that this is Hell. The earlier stages, in which Hitler felt invigorated (`It feels GOOD to be writing again!) and confident, perhaps, served only as a vehicle to revive him from the madness at the time of his death. This, then allowed him to extol his beliefs in full confidence, only to have the ambiguities gradually pointed out and the rug eventually yanked from under him. He must be made to realize his errors before his actual time in Hell can begin, perhaps. Certainly the closing shot, while sticking to the cinematic theme, gives a Hellish feel to it.
Whatever one's take on the film, it is impressively and stylistically done. Almost surrealistic to the extent of `Dr. Caligari,' it is wonderfully edited by Marc Grossman and makes great use of Wagner and other appropriate classical music.
Rodway turns in a strong performance as Hitler. It took me a few minutes, the first viewing, to accept him AS Hitler, since the resemblance is so slight. Later, as the aged, white-haired Hitler, he bears an uncomfortable resemblance to comic Steve Martin. In some shots, though, he looks uncannily like Hitler. Appearances aside, and discounting the slight English accents with which both he and Goering speak, he is most convincing.
Gray is outstanding as Goebbels, the twisted propaganda genius and Shadix and Goetz are solid in their roles. Soeberg is perfect as Eva Braun. The backdrops are unusual and intriguing and the cinematography by Frederick Elmes is outstanding. However one interprets this dark masterpiece, it is definitely a film to watch.
SPOILERS AHEAD
Hershey weaves an amazing tapestry of cinematic work. Yet it is difficult and ambiguous to interpret. Most likely he intended it to be so. It took two viewings for me to form opinions as to what his take really was on Hitler and his legacy.
Most of the two-hour movie shows Hitler happily lecturing school children, Eva Braun, Joseph Goerbels and Herman Goerring, debating with Dr. Freud and dictating to his typist. All the while, German propaganda films run in the background. I wish I had gotten out my typewriter, to capture some of the soundbite-like quotes Hershey's Hitler made, regarding media and image. Calling himself `the greatest actor in Europe,' he speaks of `playing the fuhrer role,' which, he claims, he later finds to fill a distinct need within the German people's collective psychic.
The carefully choreographed images will make him immortal, he brags. His business has been creating and maintaining an image. This notion is returned to again and again and seems to play a poignant role in the end of the film. Of course Hitler's recognition of and use of film certainly cannot be denied.
Hitler looks back at his life and career as he relaxes with Braun (Camile Soeberg), looks over newsreel footage and model cities with Goebbels (Joel Gray) and Goering (Glenn Shadix) and dictates his book. Of course, from time to time, Freud (Peter Michael Goetz) pops up and begins probing his mind.
It is difficult especially on first viewing to determine what Hershey is about. If one were forced to miss the last several minutes of the film, it would be easy to believe Hershey is actually defending Hitler. Some unlikely thoughts are put in Hitler's mouth as he reflects on the turn of the tide in Russia in late 1941. He seriously considered calling a worldwide peace conference, Hitler says, or of retiring to spend more time painting! `Let someone else play the Hitler role!' he fumes. This is certainly provocative and original material as unlikely as these sentiments seem for the man.
As the film progresses, his cohorts and underlings gradually begin to question bits and pieces of Hitler's grand designs. Freud's questions become more penetrating. As the fuhrer's reflections reach the downfall of the Third Reich, he seems to get more defensive and Rodway visibly ages in the end looking much older than Hitler was at his death.
Although Hitler and Goering earlier discuss the death totals, opting to pad the numbers to `an even' six million Jews killed, out of 12 million total (They seem inclined to point out that about as many Christians were put to death as were Jews.), Hitler cannot escape the blood on his hands. Eventually a tide of blood, in a very dramatic flurry, busts through the stone walls of his sanctuary and drowns him in a crimson tide.
The movie does not end there, though. It continues with Hitler reflecting more, now quite old and worn down. Finally, in a bizarre scene just before the end, he manages to stick his hands into and through the giant newsreel images on the wall. Apparently in pain and panic, he has to fight to remove his hands. This, again, seems to return to the idea of Hitler being merely a man trapped in a PR image that got away from its creators like a runaway snowball. On first viewing this struck me as reminiscent of the final days of Howard Hughes. Both were old men, once the most powerful (or wealthy) man on earth, now alone, nearly mad, trapped in a projection room with flickering images of his past.
I am not certain whether Hershey is really suggesting this, or if he is merely conjecturing on what excuses Hitler might have tried to use, had he been given a post-life opportunity to defend himself before the world. I was also not certain, on first viewing, of where exactly he WAS during this film. Upon second viewing, though, I have to conclude that this is Hell. The earlier stages, in which Hitler felt invigorated (`It feels GOOD to be writing again!) and confident, perhaps, served only as a vehicle to revive him from the madness at the time of his death. This, then allowed him to extol his beliefs in full confidence, only to have the ambiguities gradually pointed out and the rug eventually yanked from under him. He must be made to realize his errors before his actual time in Hell can begin, perhaps. Certainly the closing shot, while sticking to the cinematic theme, gives a Hellish feel to it.
Whatever one's take on the film, it is impressively and stylistically done. Almost surrealistic to the extent of `Dr. Caligari,' it is wonderfully edited by Marc Grossman and makes great use of Wagner and other appropriate classical music.
Rodway turns in a strong performance as Hitler. It took me a few minutes, the first viewing, to accept him AS Hitler, since the resemblance is so slight. Later, as the aged, white-haired Hitler, he bears an uncomfortable resemblance to comic Steve Martin. In some shots, though, he looks uncannily like Hitler. Appearances aside, and discounting the slight English accents with which both he and Goering speak, he is most convincing.
Gray is outstanding as Goebbels, the twisted propaganda genius and Shadix and Goetz are solid in their roles. Soeberg is perfect as Eva Braun. The backdrops are unusual and intriguing and the cinematography by Frederick Elmes is outstanding. However one interprets this dark masterpiece, it is definitely a film to watch.