War films have been a staple Hollywood winner since the end of World War II and many of them feature a star-studded cast with blazing special effects, lots of explosions and occasionally real drama and even romance. The Third Reich and the Nazis naturally form a large part of such films, they were the ‘enemy’ after all, and there have been some excellent dramas detailing the Holocaust, the death camps, and the cruelty that was the German rule. Few, though, have focused on the rise of the instigator of it all, and possibly the most evil man the world has known, Adolf Hitler.
It’s widely known that Hitler was an Austrian by birth, had a somewhat normal childhood, was a talented but failed artist, and had a passionate hatred for everything about the Jews and most things non-Aryan. He fought in the trenches during World War I and was a dedicated and highly decorated soldier, being awarded two Iron Crosses. He learned of Germany’s surrender whilst in a military hospital being treated for the effects of a mustard gas attack. To say he was displeased with the German surrender is a gross understatement.
Following the war, he remained enlisted and worked as a spy as it were, reporting on the activities of various small political factions. It was whilst engaged in this that he crossed paths with the German Worker’s Party. His ire was raised instantly by the speaker he was listening to. For his passionate love of Germany and the rights of her people, he was invited back a week later to speak officially to the party faithful. In October of 1919 he delivered the first of countless speeches that would increasingly rally the disenchanted Germans from subservient losers in World War I to the most powerful military force in Europe in just two decades.
Hitler - The Rise of Evil is a biographical and personal insight into Hitler’s journey from failed artist to dictator, and most feared man in Europe. It examines his anti-Semitism at every step, his political aspirations, his desire to make Germany not just great, but pure, his desire to champion the people’s rights, his hatred for the weak and indecisive, and his ability to manipulate people as individuals and en masse. It details his rise through the political ranks, his ruthless attitude, his unstoppable passion to lead, his ability to squash insurrection, eliminate enemie, and the ability to turn on anyone that dare question his methods or wisdom.
There is much about his early life that is not known and some minor liberties have been taken, but little here could be declared a falsehood, and is dramatic license at worst. Naturally, as Hitler’s ascension continued, there is more that is factual than assumed, so much of this we can accept as fact. The story also takes a look at his more personal side, such as his love of Wagner, his fascination with and love for his niece, and his ability to manipulate even the sternest of opposition with carefully chosen rhetoric, mixed with deep anger that manifested itself regularly. Hitler, it seems, was not a man you would choose to upset.
Carlyle gives a sterling performance as Hitler, something that would seem unlikely given his natural Scottish accent, but Carlyle is no ordinary actor and makes a menacing Hitler. His ability to turn the charm on and off, and the anger, gives Hitler more depth than most previous dramas involving the dictator. The costumes, sets and makeup are first rate. There is no focus on that which has been well plundered already, World War II itself, and the bulk of the three hours, as said, is a detailed study of Hitler’s path from slightly troubled youth to Chancellor and President of Germany, and all the dramatic chapters along the way.
This is an exemplary 1.78:1, 16:9 enhanced presentation. The image is crystal clear, razor sharp and has great clarity. Colours are as natural as you could wish for making for some beautifully seductive reds on the swastika flags. Blacks are deep and solid and there is no evidence of noise or colour bleeding.
There are very few problems other than some minor aliasing and slight shimmer on the usual victims such as car grilles. There is no edge enhancement, and no artefacts to speak of in the way of dirt, flecks or speckles.
There is use of earthy tones in some of the indoor beer-hall scenes that is effective, but there is no drop in the quality. The layer change is so discretely placed that it passed by unnoticed.
Like the video, the audio is damned fine. The sole option is a Dolby Digital 5.1 mix that shows great forethought, and is both aggressive and passive in well-balanced ratios. The dialogue is mostly placed in the centre speaker, with the left and right fronts augmenting with various sound effects. There is some noticeable panning across the front speakers of such things as vehicles.
The rear channels are used well. They are a constant presence in all crowd and outdoor scenes, but really come to the fore during the World War I war scenes, with excellent spacing of everything you would expect in the way of gunfire, explosions, and heavy vehicles.
Low-level sounds are also most prominent here, and the subwoofer gets a good workout. As the feature progresses, the rears take on a slightly more subdued role as the drama begins to dominate the action.
The only noticeable fault is a very quick drop at the 38:20 mark that is barely noticeable and will pass by unheard by most.
