This film took up three hours, including commercials, on the History International Channel last night. But it felt like three weeks. It wasn't the cheap, stagy and unintentionally funny depictions of the bombing of Dresden. It wasn't that the film is stripped of almost all context surrounding World War II. It wasn't even that the bombing itself was often made to appear as nothing more than a major inconvenience for a goofy love story. No, it was the wooden featureless characterizations that sucked the life out of the story. Oh, and the fact that if it is possible for a movie to be obsequious, then Dresden is that movie. Perhaps a better title would have been DRESDEN--AS URIAH HEEP WOULD HAVE EXPERIENCED IT.
It is especially the latter point that so irritates. Was the bombing of Dresden a war crime? The makers of this movie believe so. But in the typically emasculated way that Germans have come to approach World War II, they can't bring themselves to say so without braying about "peace" and "no more wars--anywhere" like they're Mother Teresa. And, also typical of German obsequiousness towards the British in particular, there is an unwieldy effort to grovel before "Britishness", while loading all the "guilt" for Dresden on to one person, Arthur Harris.
Did I say one person? Well, not quite. At the beginning of the movie, there is an exclamation from the leading character, Anna, with whom we are all supposed to sympathize. "Damned Americans!", she screams, while watching as far off bombs fall. And a few minutes later, a radio voice intones warnings about the "American Terror Bombing" being inflicted upon Germans.
Note the word, "terror". Got that? It's really the Americans behind the inhumane targeting of German civilians. No matter that the American strategy for almost all the war in Europe was the "precision" bombing of industrial and war manufacturing sites. No matter that it was the British who enthusiastically adopted "area" bombing of civilian targets in Germany--before the Germans had themselves even targeted English ones. No matter that the Americans bombed during the day, suffering more casualties in the process than the British, in order to hit precision targets, while the British bombed civilians under the cover of night. No matter that the Americans, essentially, were brought into the RAF's true terror bombing campaign kicking and screaming against it. No matter that most American officials, from FDR to Gen. Dolittle, opposed targeting civilians, while Churchill and his generals couldn't wait to do so.
No, in DRESDEN, both the Germans and British, except for "Bomber" Harris, are innocent of a doctrine, it is intimated, created by the evil Americans. And only the might and power of a love story between a German nurse and a downed British bomber pilot can adequately explain the "truth" of the atrocity. Right.
Oh, by the way, for the younger and likely less well read readers of IMDb, the first and still so far only major literary effort to give a thoughtful voice to Dresden's bombing was the pacifist novel penned by Kurt Vonnegut--an American POW in Dresden at the time of the bombing. I guess Germany's ZDF couldn't find a pretty nurse for Billy Pilgrim.
It is especially the latter point that so irritates. Was the bombing of Dresden a war crime? The makers of this movie believe so. But in the typically emasculated way that Germans have come to approach World War II, they can't bring themselves to say so without braying about "peace" and "no more wars--anywhere" like they're Mother Teresa. And, also typical of German obsequiousness towards the British in particular, there is an unwieldy effort to grovel before "Britishness", while loading all the "guilt" for Dresden on to one person, Arthur Harris.
Did I say one person? Well, not quite. At the beginning of the movie, there is an exclamation from the leading character, Anna, with whom we are all supposed to sympathize. "Damned Americans!", she screams, while watching as far off bombs fall. And a few minutes later, a radio voice intones warnings about the "American Terror Bombing" being inflicted upon Germans.
Note the word, "terror". Got that? It's really the Americans behind the inhumane targeting of German civilians. No matter that the American strategy for almost all the war in Europe was the "precision" bombing of industrial and war manufacturing sites. No matter that it was the British who enthusiastically adopted "area" bombing of civilian targets in Germany--before the Germans had themselves even targeted English ones. No matter that the Americans bombed during the day, suffering more casualties in the process than the British, in order to hit precision targets, while the British bombed civilians under the cover of night. No matter that the Americans, essentially, were brought into the RAF's true terror bombing campaign kicking and screaming against it. No matter that most American officials, from FDR to Gen. Dolittle, opposed targeting civilians, while Churchill and his generals couldn't wait to do so.
No, in DRESDEN, both the Germans and British, except for "Bomber" Harris, are innocent of a doctrine, it is intimated, created by the evil Americans. And only the might and power of a love story between a German nurse and a downed British bomber pilot can adequately explain the "truth" of the atrocity. Right.
Oh, by the way, for the younger and likely less well read readers of IMDb, the first and still so far only major literary effort to give a thoughtful voice to Dresden's bombing was the pacifist novel penned by Kurt Vonnegut--an American POW in Dresden at the time of the bombing. I guess Germany's ZDF couldn't find a pretty nurse for Billy Pilgrim.