Watch Kolberg For Free

Fantastic!

Admirable film.

Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

During the waning years of WWII, it was obvious to just about everyone that ultimately the Germans would lose the war. However, the Minister of Propaganda, Josef Goebbels insisted that a rousing German epic about war MUST be created in order to inspire their people in the defense of the nation. And so, while the country was being incinerated from the air and troops were being slaughtered by the 100s of 1000s on the Eastern Front, HUGE resources were rather inexplicably being diverted to the creation of "Kolberg". 10s of 1000s of soldiers were cast as extras and the great power of the sleeping German movie industry was mustered. And seeing that it was a full-color film with all this money being thrown into it, it's not surprising that this is a great film--though also one most would probably want to forget simply because of who made it and why it was created in the first place.The film is set during the Napoleonic Wars--back around 1807. Town after Prussian town have surrendered to the oncoming French juggernaut. Yet, inexplicably, the town of Kolberg isn't ready to welcome the invaders. Despite a very weak commander of the Prussian army in the region, the Mayor isn't about to surrender and he's encouraging his people to fight to the death, as by slowing down the enemy, ultimate victory may result. But, he must contend with the wimpy commander and send a rather ordinary lady on a mission to have the King replace the commander and support the defense of the city. What follows are some exceptional battle scenes and the only ones which I have seen which are better are from the insanely large Russian version of "War and Peace" (a film you just have to see at least once in your life).Overall, the film is very rousing and inspiring. It's obvious that the purpose of the film is to get the German people to be very willing to lay down their lives as well as convince them that this is not a sacrifice in vain (which is was). As a result, the film probably contributed to the unnecessary deaths of thousands of people--when there was no possible way to stop the inevitable. Plus, unlike the Prussians during the time of Napoleon, they were NOT fighting for what was right. Sad...but amazingly effective...provided the local movie houses had not been blown up so the folks could see it in the first place! By the way, the scene where the peasant girl meets the queen was exceptionally well done--even brilliant. See this and you'll understand what I mean.

Kolberg's legendary status owes not a little to its unobtainability and complete absence from television. I have the distinct impression that the best of Veit Harlan's direction ended up on the cutting room floor as a panicking Dr Goebbels insisted on drastic revision before this thundering epic could be shown -should I say, inflicted on- the German public in the last days of WWII. There are some magnificent scenes of battles and the episode in the Kolberg town council chamber is brilliantly scripted and acted, but the something is very wrong about the way the final print was put together. Lead character Maria is a virtual stranger; the details of her trials and tribulations along with her affair with Schill have to be guessed at, as does much else. The sets throughout are splendid - but it's all a stage with nothing happening. Continuity is appalling. I understand that we are watching 1hr 45mins out of over 90 hours of footage taken and that all the negatives are lost. We will never know what we are missing.

Kolberg isn't remotely a good movie, but at the same time it's no worse than 99.9 percent of the tripe that is and has always been made by Hollywood. It's hard to objectively discuss this film because of having to precede any actual comments with obligatory expressions of PC horror. But even more so, the quality of the copy in general circulation is so terrible it is difficult to form a fair opinion of how the film does or does not work as a piece of entertainment and or art. The structure of what I saw is so far beyond episodic as to be virtually incomprehensible at times - and I doubt that a film this professional on other levels could ever originally have been so choppy and unclear. It looks to be very heavily edited, with a meat cleaver, by a blind person. Perhaps it was cut to remove as much material as possible that would make the German cause sympathetic, or perhaps just for length (it is still quite a long movie). The color (in the copy I have) is close to indescribable. In fact, when a friend asked me if I saw it in color, it took me a few minutes to think of a way to answer him. It isn't color and it isn't black and white - but it is hideous and must be far, far removed from what Kolberg originally looked like. It's got a cast of thousands, impressive and beautiful (or so it seems through the dim veil of putrid picture quality that I experienced) locations and sets and some good acting, particularly by the patriarchal male lead. The person who plays the Queen of Prussia is outstandingly beautiful. As to 'horrible' 'terrifying' etc., propaganda, Kolberg is much subtler and less specific than the typical exercise for the moron millions churned out by Hollywood such as Casablanca, or any number of movies in which Errol Flynn or Harrison Ford single-handedly-defeats-the (fill in the blank), etc. I find it rather refreshing to get another perspective, as the old one is wearing quite thin these 60 years after 'freedom' supposedly won, and all that. Kolberg's effectiveness as propaganda (the dark days descending over Germany) is interestingly substantiated in the history of genocidal mass rape and murder of Germany civilians in the wake of the Soviet conquest of just the provinces in which Kolberg is set. That the leading actor - an actor, not a politician - was starved to death in a Soviet (you remember the Soviets - our allies in right vs. wrong, freedom vs. slavery World War II?) concentration camp in 1946 certainly gives a certain air of credence to the pronouncements of the film.

I saw "Kolberg" on French television some time ago. What was most interesting about it was how desperate the propagandizing looked in this film - as if the filmmakers knew that they were on a sinking ship and that time was running out. I don't think the film is as "evil" as other Nazi films but it's only watchable for the historical interest of witnessing the final product, the last gasp, of a dying, militarist, and anti-humanistic culture. It looks like a film shot on borrowed time.Herr Goebbels mentioned that "Kolberg" was an attempt to one-up the Hollywood style and clearly, he's given his director, Veit Harlan, the financial and manpower resources to stage some big scenes. Or, at least, what I think were big scenes. Goebbels, worried that the sight of Prussian troops (the film is set during the Napoleonic wars) getting wounded and killed in battle might demoralize the flagging German spirits - the film was shot in 1944 - and thus cut most action sequences out of the film. You'll get an army charging a hill abruptly cut into a shot of a burning house(whose ignition is never seen) cut again into someone encouraging the dedicated Prussian citizenry to hold fast against the merciless French troops. Cut back to a charging army that never really engages with the enemy. Cut again to panicking villagers. In between these gaps, which become more egregious as the film progresses, you get hamfisted attempts at colorful local humor, an impossibly convulted plot that crosscuts between several German towns to no avail, and an overbearing Valkyrie peasant woman forever spurring her fellow subjects to the Higher Cause (she's the most sexless woman in movie history). Everything in the movie is impossibly crude to the hammer-on-anvil dialouge, to the declarative acting (each actor seems to be wearing his or her own Greek mask while at the same time failing to make any impression whatsoever), to the whole stilted and incoherent pacing of this film.The film is terrible but fascinating, especially given the context of when and where it was made. Goebbels diverted troops from the eastern front for the battle scenes that he subsequently mutiliated. And when one learns that Goebbels considered this the film that would revive the Nazi cause and that it was filmed at the time and near the locations where the Final Solution was shifting into high gear, it leaves you with a strong feeling of disgust for the whole enterprise. Even the subject matter, about Kolberg's citizens futilely defending themselves against a French onslaught, seems out of place. The tale is obviously used to rally support for the flailing German cause but the Kolberg citizenry's efforts were lost (the Prussian army was vanquished) and thus the message of the film is cancelled out. In an even greater historical irony, by the time the film debuted (30 January 1945), the Pomeranian town of Kolberg had been taken over by the Russians and today is a part of Poland."Kolberg" is a unique document showing a well-oiled propaganda machine collapsing in the face of its immanent demise. It achieves the opposite of its intent. The stolid face at the end of the film with the proto-Nazi flag as a backdrop is supposed to convey a sense of determined conviction but there's fear in those eyes.