THE MORTAL STORM
US, 1940, 100 minutes, Black and white.
Margaret Sullavan, James Stewart, Robert Young, Frank Morgan, Robert Stack, Bonita Granville, Marie Ouspenskaya, Russell Hicks, Dan Dailey, Esther Dale.
Directed by Frank Borzage.
The Mortal Storm was very popular in its day. It is particularly interesting to look at now, the retrospect of the history of World War Two as well as the 20th century and anti-Semitism. The film is set in 1933 at the time of Hitler’s accession to the Reichstag. The Roth family is non-Aryan and becomes the target of persecution in the alpine village in which they live. Frank Morgan, with great dignity, portrays Professor Roth. Margaret Sullavan, always a tragic figure in films, is his daughter. His stepsons and a young man who wants to marry his daughter identify with the Nazis as do most of the village.(**villagers?) However, a young farmer who wants to be a veterinarian, played by James Stewart, sides with the professor.
The film is interesting in an American company like MGM portraying Germany in the 1930s, especially in 1940 just at the outbreak of World War Two. The cast had appeared in Three Comrades, also a German story set after World War One and also directed by Frank Borzage. These films are companion pieces, an MGM perspective on the period between the wars.
1. The film's explanation of its title? The significance and detail of the prologue? The visualizing of the storm? The storm in the human heart of good and evil?
2. The film as a product of 1940, the war, propaganda, human values? Its insight into the 1930s and the beginning of World War Two, its impact in its time in terms of understanding and humanity? The importance of its impact now?
3. The quality of the black and white photography, studio work, music, German atmosphere? A presentation of the U.S. stance on Nazism?
4. The importance of the creation of the happy atmosphere? Bavaria in 1933? Opening with a birthday, the various members of the family, the united family, soon to be disrupted, the humour of the lecture, the gift, the family dinner? The quality of humanity in the various characters contributing to this happiness?
5. How did the film subtly suggest that there would be changes? The date of 1933, Rudi and his clicking of his heels, the presentation of the atmosphere of Hitler? The announcement of Hitler as Chancellor and the joy of some people at the dinner, the hesitations of the others? The meetings, leading to tensions?
6. The presentation of the tensions in the city? The hotel and who was admitted, the singing of the Nazi songs and the pressure on those who were not sympathetic? The humiliation of the schoolteacher? The growing fanaticism of the meetings and the storm troopers? The humiliation leading to defiance? Martin and Freya being defiant? Martin being bashed outside the house? The hostility to the Jews? What was the film saying of the transition from peace to hostility, the nature of the mortal storm?
7. The family itself symbolizing the disruption in Germany? The Jewish father and the hostility towards him, the German mother who had loved a Jew and was forced to suffer and leave the country? The two boys asked to be loyal to the Fatherland and being tested, even to the death of their sister? Rudi and his choice as regards his love of Freya and his love for the cause of the Fatherland? Martin and his gentleness and the support for escape for them all? How important were the details of conversation between the various members of the family?
8. The contrast with Martin's family? The kindly earthiness and practical commonsense of his mother? Her support of Freya? Their servant and her devotion to Martin, her fear of the Nazis and of torture? The feelings in that particular house? The good nature of Martin to help the teacher escape? The support of Freya and Martin's mother? The girl and her terror of torture? The way that she was tortured?
9. The professor trying to continue his work in Nazi Germany? The challenge in the classroom, the interpretation of his theories as against the state? His arrest, imprisonment, death? The pathos of the scene where his wife visited him? (The irony of Rudi helping them?)
10. How well developed was the character of Freya? A heroine? Her challenge to Rudi and his failure, her love for Martin? The support of her family in escaping? The sequences at the border and the investigation about her father's manuscript? Her decisions about leaving?
11. The melodrama of the escape, the drama of the chase, Rudi's choice, involvement, unwillingness to shoot, shooting? The effect of Freya's death on Martin? On her brothers? As a symbol of what was wrong with Nazi Germany?
12. How real was this film? The people and their situations, seeing the impossibility of living under Nazi rule?
13. The value of the film in exploring the Nazi ethos? Hate, war, and the 'mortal storm'?
