This movie opens on a most impressive intro. Flames and smoke come up from a furnace, and as the titles jump on and off the screen, we hear a harrowing music theme by Maurice Jarre (the melody is close to Dr Zhivago's, but played with a frantic rhythm). The English/French title, "The Damned ", is far more appropriate than the Italian/German one which is "The Fall of the Gods". As the intro suggests, we are entering an inferno, and the characters we are going to see are the sort who will not hesitate sell out their soul to the devil in exchange of power and glory. "The Damned" is certainly a horrific movie, but as artfully made as can be.
Action takes place in the Ruhr industrial region of Germany, just after Hitler's rise to power. The aristocratic family von Essenbeck is the country's leading steelwork owner, a fictional equivalent of Krupps or Thyssens. Now, this movie is not trying to denounce the fact that big German industrials financed Hitler, but instead, it focuses on the internal struggle for power inside the family. Therefore,"The Damned" is not really a movie about nazism, even if it is often regarded as such. It a movie about power. Nazism is only used as an extreme context where the mechanisms of power are made more evident than anywhere else, because it is a system that openly legitimates the absolute domination of the strongest.
Baroness Sophie (Ingrid Thulin) is the daughter in law of an aging steel baron. Her husband is apparently dead during WW1, but he left her with a son, Martin (Helmut Berger) who is immediately presented as immature and perverse. Baroness Sophie has an official lover, Friedrich Bruckmann (Dirk Bogarde), and both are acquainted with an influent member of the nazi party called Aschenbach (Helmut Griem). Sophie is a modern incarnation of Lady Macbeth. Her schemes are to take control of the Essenbeck steelworks by any means, determined to crush anyone who might stand in her way.
Sophie doesn't care for anybody. Her lover Friedrich is anything but an angel, but he appears as a weaker character whom she adroitly manipulates. She has an obvious contempt for her son Martin, which gets obvious right away, as she is seen laughing behind a curtain while he is performing a transvestite number at his grandfather's birthday party...The only one who seems to have her esteem is Aschenbach the nazi, who is just as devoid of scruples as she is.
The steel lady gets both her father-in-law and one of her brothers-in-law murdered, while her other brother-in-law is forced to exile, and her timid nephew to silence. Her son Martin becomes therefore the legitimate heir of the steelworks, but she only intends to use him as a puppet as she plans an official marriage with her lover Friedrich, through which she hopes to take control of the family's fortune. The wedding will take place, but not the way she expected...
The only enemy she did't think about (and does she think about enemies!) is her own son, whom everybody regards as incapable and degenerate. Indeed, Martin, by the way a pedophile, is not interested in power or money. But the blemished love of the boy for his mother has reverted into an infernal hate. Hate is going to be Martin's driving force to become the much unexpected winner of the game, as he is really capable of ANYTHING, even beyond what his merciless mother ever would have imagined.
Ingrid Thulin's performance is stunning, probably her best one ever, and though Helmut Berger tends to overact, you couldn't find a better choice for the satanic role of Martin. The evil figures appear much more intense than the few innocent ones, among them a barely recognizable Charlotte Rampling in one of her early appearances. The baroque lavishness of the scenery makes a striking contrast with the ghastly minds of the characters (hard to speak of heroes) and their equally ghastly deeds. The film makes you wonder if the the already renowned Luchino Visconti deliberately intended to shock by all means, since all his other movies, before and after this one, were by far tamer.
But indeed, in 1969, all ingredients were there to make it a perfect bomb. Two episodes of nazism are spectacularly rendered : first the public burning of books on the streets, then the Night of the Long Knives, which is depicted in a very long and shocking scene. A beer drinking party turns into a homosexual orgy, and eventually ends in a bloodbath. But even worse is still to come...
It can be established that "the Damned" was the first screenwork to deal with nazism so openly, and as such, it abruptly broke a long-lasting taboo. This film has been a trend-setter in many ways, and opened the path to a series of others that hinted to nazism as darkly erotic and fascinating, a trend that some called "nazi sexploitation of the seventies". True, the influence of "the Damned" can be traced in many vile under-products, but also in leading works such as "Cabaret" or "The Night Porter". A reaction to that trend came with the ensuing wave of holocaust movies, which made a point in reminding that nazism was above all sheerly destructive.
Action takes place in the Ruhr industrial region of Germany, just after Hitler's rise to power. The aristocratic family von Essenbeck is the country's leading steelwork owner, a fictional equivalent of Krupps or Thyssens. Now, this movie is not trying to denounce the fact that big German industrials financed Hitler, but instead, it focuses on the internal struggle for power inside the family. Therefore,"The Damned" is not really a movie about nazism, even if it is often regarded as such. It a movie about power. Nazism is only used as an extreme context where the mechanisms of power are made more evident than anywhere else, because it is a system that openly legitimates the absolute domination of the strongest.
Baroness Sophie (Ingrid Thulin) is the daughter in law of an aging steel baron. Her husband is apparently dead during WW1, but he left her with a son, Martin (Helmut Berger) who is immediately presented as immature and perverse. Baroness Sophie has an official lover, Friedrich Bruckmann (Dirk Bogarde), and both are acquainted with an influent member of the nazi party called Aschenbach (Helmut Griem). Sophie is a modern incarnation of Lady Macbeth. Her schemes are to take control of the Essenbeck steelworks by any means, determined to crush anyone who might stand in her way.
Sophie doesn't care for anybody. Her lover Friedrich is anything but an angel, but he appears as a weaker character whom she adroitly manipulates. She has an obvious contempt for her son Martin, which gets obvious right away, as she is seen laughing behind a curtain while he is performing a transvestite number at his grandfather's birthday party...The only one who seems to have her esteem is Aschenbach the nazi, who is just as devoid of scruples as she is.
The steel lady gets both her father-in-law and one of her brothers-in-law murdered, while her other brother-in-law is forced to exile, and her timid nephew to silence. Her son Martin becomes therefore the legitimate heir of the steelworks, but she only intends to use him as a puppet as she plans an official marriage with her lover Friedrich, through which she hopes to take control of the family's fortune. The wedding will take place, but not the way she expected...
The only enemy she did't think about (and does she think about enemies!) is her own son, whom everybody regards as incapable and degenerate. Indeed, Martin, by the way a pedophile, is not interested in power or money. But the blemished love of the boy for his mother has reverted into an infernal hate. Hate is going to be Martin's driving force to become the much unexpected winner of the game, as he is really capable of ANYTHING, even beyond what his merciless mother ever would have imagined.
Ingrid Thulin's performance is stunning, probably her best one ever, and though Helmut Berger tends to overact, you couldn't find a better choice for the satanic role of Martin. The evil figures appear much more intense than the few innocent ones, among them a barely recognizable Charlotte Rampling in one of her early appearances. The baroque lavishness of the scenery makes a striking contrast with the ghastly minds of the characters (hard to speak of heroes) and their equally ghastly deeds. The film makes you wonder if the the already renowned Luchino Visconti deliberately intended to shock by all means, since all his other movies, before and after this one, were by far tamer.
But indeed, in 1969, all ingredients were there to make it a perfect bomb. Two episodes of nazism are spectacularly rendered : first the public burning of books on the streets, then the Night of the Long Knives, which is depicted in a very long and shocking scene. A beer drinking party turns into a homosexual orgy, and eventually ends in a bloodbath. But even worse is still to come...
It can be established that "the Damned" was the first screenwork to deal with nazism so openly, and as such, it abruptly broke a long-lasting taboo. This film has been a trend-setter in many ways, and opened the path to a series of others that hinted to nazism as darkly erotic and fascinating, a trend that some called "nazi sexploitation of the seventies". True, the influence of "the Damned" can be traced in many vile under-products, but also in leading works such as "Cabaret" or "The Night Porter". A reaction to that trend came with the ensuing wave of holocaust movies, which made a point in reminding that nazism was above all sheerly destructive.