THE BUNKER. (1981) REVIEW BY SANDRA HARRIS. ©

THE BUNKER. (1981) BASED ON THE BOOK BY JAMES P. O’DONNELL. STARRING ANTHONY HOPKINS, SUSAN BLAKELY, CLIFF GORMAN AND PIPER LAURIE.

REVIEW BY SANDRA HARRIS. ©

‘The war is lost.’

‘We are surrounded by corpses.’

‘What might have been, Speer…’

‘The Third Reich is about to collapse.’

‘All of the children are going to die…!’

‘If the enemy wishes to destroy us, why help them?’

‘We have chosen death, to remove the threat of removal or surrender.’

‘No-one has the right to tie the fate of the German nation to his own personal destiny.’

‘The war is not lost. The war is not lost! The war will never be lost! I will defeat them all. I will defeat the entire world!’

This is a long one now, as the actress said to the Bishop, so be warned. I loved this made-for-television film adaptation of Hitler’s last weeks and days in the Bunker, the little underground kingdom in the nearly ruined gardens of the Reich Chancellery in Berlin where the doomed German dictator ended his life and reign of terror simultaneously.

Anthony Hopkins was brilliant as Hitler, as you might expect, because Anthony Hopkins doesn’t do anything by half-measures, but what really fascinated me here was the timing of the gradual emptying out of the bunker as the Russians came ever closer to taking Berlin and ending the Second World War, the worst war in the history of the world.

At first, when Hitler first descends in January 1945 to its murky depths, life in the Bunker is relatively civilised. Hitler takes tea at four every day with his secretaries, Gerda Christian and Traudl Junge, and Constance Manziarly (played here by Pam St. Clement, aka Pat Butcher from EastEnders!), his treasured cook.

He loves her because she is able to create both the bland vegetarian diet he prefers but also the home-made cakes for which he has a weakness. O-ho, so somebody likes cakes, eh…? Lol.

Constance is unswervingly loyal to the Fuhrer. ‘No matter what happens, Adolf Hitler will never die,’ she says in the film, and also: ‘The Fuhrer’s birthday in this place! How did we ever come to this? How did we ever come to this place?’

Hitler (in real life but not in this film) treats his captive female audience to the long boring monologues for which he is notorious, speeches about dogs (his dog Blondi has puppies while in the Bunker), his vegetarianism (which caused him to suffer excessive flatulence, and I’m sure the ladies would have noticed!) and the evils of smoking.

Joseph Goebbels, Hitler’s Minister for Propaganda and head toady and boot-licker, is present full-time in the bunker at this stage. So too is Martin Bormann, one of Hitler’s top men, Otto Gunsche, Hitler’s personal adjutant, Rochus Misch, the guy who works the all-important switchboard, getting messages in and out of the Bunker, and Hitler’s personal doctor, Dr. Theodor Morell. He pops in and out frequently, administering the highly unorthodox injections and (allegedly!) the cocaine eyedrops that keep the dictator going.

The situation conferences around the big table to discuss the progress of the war take place daily, and Hitler’s generals, Guderian, Keitel, Jodl & Co. are either issued with wholly impractical orders or bawled out publicly for not having carried out the last batch of wholly impractical orders.

Hitler in the last days of the war is moving armies around on his little maps that no longer exist, because they’ve been wiped out by the Russians, but he keeps up his outward insistence that the tide could still turn in Germany’s favour.

These situation conferences become more and more stressful for all concerned. Towards the end, when time has lost all meaning and no-one in the Bunker any longer keeps to a schedule, they could start at 1am and go on till morning.

Hitler frequently loses his temper with his generals, whose failure to win the war for him feels like a betrayal, and his screaming fits are legendary. You can’t have a Hitler film without the little guy with the funny moustache and the queer hairstyle throwing a good old screaming fit in it.

In the last few weeks and days of April 1945, when even Hitler knows that the war is lost, things become incredibly tense and gripping to watch. Hitler’s staff beg him to leave the Bunker and flee to the relative safety of his mountain retreat in Berchtesgaden, in Bavaria. He’s adamant that he won’t leave Berlin, however.

His long-term mistress Eva Braun has joined him in the Bunker by this stage, and even her forced air of desperate oh-look-how-frightfully-gay-we-all-are has had the shine well and truly worn off of it. She won’t leave Berlin either, however, or her Fuhrer. Whatever fate is mapped out for her Adolf, she will share it, even unto Death.

She gives an expensive fur stole of hers to one of the secretaries. ‘Think of me when you wear it,’ she trills gaily. Hmmm. Even for the secretaries, who survive the war, there won’t be any opportunities to wear that fur stole for a while.

Albert Speer, Hitler’s pet architect and the Minister for Armaments, features heavily in the film. Knowing now that their dreams of rebuilding Germany together after the war are as dust in the wind, Hitler puts Speer in charge of his despicable ‘scorched earth’ policy: destroying what’s left of Germany so the Russians won’t get their hands on it. Not just bridges and military installations, but houses and shops and farms and factories. This is what Hitler says: ‘Believe me, when we take our leave, the earth will tremble. The planet will go up in flames.’

The German people will have nothing left to live on when this detestable policy has been carried out. That was probably partly what Hitler wanted all along, to take everything with him when he himself went out in a blaze of glory, like in Wagner’s Twilight of the Gods or the Götterdämmerung he’d always admired and wanted for himself and Germany. 

Also, the German people had let him down, hadn’t they, by not going all out to help him win the war, so maybe they didn’t deserve to live on after he did. What a mindset. I’m fucked so all you lot are fucked as well. It seems like a pretty typical Hitlerian mentality to me.

Luckily for the German people, Speer, who claims in the film, somewhat dubiously, that he’d planned to kill Hitler himself at one point in order to stop the dictator from implementing his scorched earth scheme, in the end only pretends to Hitler that he’s been carrying out this disastrous policy.

He doesn’t believe that the fate of Germany should be tied inextricably to that of one sick and twisted individual, and, in that at least, ‘the Nazi who said sorry’ is right. He confesses to Hitler what he’s done as he’s leaving the Bunker and saying goodbye to his former Fuhrer forever, but Hitler is too far gone to give a shit by then.

Speer, by the way, seems to have had a well-developed sense of self-preservation. ‘Speaking for myself,’ he says at one point, ‘I intend to outlive the Third Reich.’ And he did, by a whopping thirty-six years, even if twenty of those were spent in Spandau Prison.

Poor Hitler. His health is wrecked, his friends- look at Goering and how he’s betrayed his former friend and leader!- are deserting him right and left, his bezzy mate Himmler has actually crawled into bed with the Allies, his trademark glossy black locks are as grey as a badger’s arse now and his lovely dream of the Thousand Year Reich is in ruins.

Oh, and Eva Braun’s pregnant sister Gretl’s husband, Hermann Fegelein, has been caught trying to scarper without permission and is now paying for his crime by being left to dangle on a meathook. (Other film versions have Fegelein being shot.) What’s to live for now?

The Bunker inmates can be divided into those, like Speer, who choose to leg it while Hitler is still alive, and those who hang on till the bitter end. These include Eva Braun, Hitler’s adjutant Gunsche, his toady Joseph Goebbels and his wife Magda and their six children. These are all living in the Bunker by this stage, as is Rochus Misch the transmissions technician, Constance Manziarly the cook (who was never seen or heard from again after the war) and the secretaries.

On the night before their joint suicide, Hitler marries Eva Braun. The next day, they say goodbye formally to their remaining acolytes, and then they retire forever to bite into cyanide capsules (previously tested on Hitler’s beloved dog, Blondi), and Hitler also shoots himself in the head for good measure.

He won’t let himself be captured and hung upside-down and naked in the town square, which is what has happened to his crony Mussolini, the Italian dictator, and Mussolini’s missus. ‘They (the Russians) are not going to cage me and exhibit me in a zoo!’

Otto Gunsche carries the bodies outside, then sets them on fire as per Hitler’s wishes. Magda Goebbels poisons her six children with cyanide capsules, then allows her husband to shoot her dead outside in the garden before in turn shooting himself.

With the bigwigs gone, it’s every man for himself. It’s the moment when the musicians playing ‘Nearer My God To Thee’ on the Titanic pack up their instruments, wish each other well in a gentlemanly fashion and then scramble desperately for a place on a lifeboat.

The Bunker descends into chaos as Gunsche, the secretaries, Martin Bormann and assorted others pack up and try to make it through the Russian lines to the British armies, who don’t seem to be as terrifying to the Germans as their Russian counterparts.

The secretaries paint lipstick spots on their faces to give themselves the appearance of smallpox. ‘Do you want to be raped (by the Russians)?’ one says to the other. Her terrified friend promptly yanks the lippy out of her hands…!

When even the loyal and dutiful Rochus Misch eventually leaves his post and the final transmissions squawk their contents to the empty air, there’s a definite feeling in the Bunker that the fat lady has well and truly warbled her last note. Johannes Hentschel, the mechanic, is the last man in the film to leave the underground tomb.

The Bunker is empty, the Fuhrer is dead, Berlin is in ruins, the war is lost and the Russians are knocking- none too politely- on the doors of the Reich Chancellery. Years and even decades in Russian prison camps await some of those fleeing from the Bunker.

What ghosts would haunt the eerily silent corridors of the Bunker today, if it still existed, which of course it does not? Hitler is supposed to have told an underling, a young man, that his spirit would remain on duty within its walls for all eternity, keeping an eye out for those pesky Russians.  

A pretty pathetic story, probably not true, but I still wouldn’t have ever wanted to be down there alone in those days after the war ended when the Bunker was dark, waterlogged and filled with the flotsam and jetsam of all those disappeared lives.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Vampirology. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books:

The sequel, ‘THIRTEEN STOPS LATER,’ is out now from Poolbeg Books:

THE SOUND OF MUSIC. (1965) REVIEW BY SANDRA HARRIS. ©

sound of music

RODGERS AND HAMMERSTEIN’S THE SOUND OF MUSIC. (1965) DIRECTED AND PRODUCED BY ROBERT WISE. BASED ON THE MEMOIRS OF MARIA VON TRAPP. MUSIC AND LYRICS BY RICHARD RODGERS (MUSIC) AND OSCAR HAMMERSTEIN THE SECOND (LYRICS).

STARRING JULIE ANDREWS, CHRISTOPHER PLUMMER, RICHARD HAYDN, PEGGY WOOD AND ELEANOR PARKER.

REVIEW BY SANDRA HARRIS. ©

‘Raindrops on roses and whiskers on kittens,

Bright copper kettles and warm woollen mittens,

Brown paper packages tied up with strings,

These are a few of my favourite things.

………………………………………………….

When the dog bites and the bee stings

And I’m feeling sad

I simply remember my favourite things

And then I don’t feel so bad.’

The sight of a nun with a guitar gives me the willies, straight up. Reminds me of Fourth Year in secondary school when Sister Assumpta, nicknamed ‘Stumpy’ for her lack of height inches, tried to teach me to play the guitar after school. After only two lessons, I was expelled forever from these after-school jamborees for Crimes Against Music. Well, we can’t all be good at everything. Music’s loss was writing’s gain, lol.

Anyway, there’s a nun with a guitar in the multi-award-winning THE SOUND OF MUSIC, set in the last days of the 1930s. Her name is Maria, she’s wonderfully played by Julie Andrews and she’s a source of constant frustration to the other nuns in the convent. Let’s just say she’s a little, well, different.

She sings all the time, not just in church, she’s late to everything- except meals- and she’s as scatty as a dotty old professor of physics who wastes a morning looking for the spectacles that were on his head the whole time.

Furthermore, she’s always up in the hills where she was brought up, singing and twirling and twirling and singing and generally acting like she’s taken leave of her remaining senses altogether.

The kindly and extraordinarily understanding Reverend Mother of this lovely little convent in Austria is convinced that Maria is not quite ready to take her final vows as a nun. She thinks that Maria hasn’t quite made up her mind what she wants to do with her life and she thinks that the girl might benefit from a spell back out in the world outside the convent walls once more.

With this in mind, she sends Maria to the Salzburg home of one Captain Von Trapp, a widowed and much decorated sea captain who is in urgent need of a governess for his seven children. Maria will be this governess. Off she duly repairs to the Captain’s magnificent abode.

She’s immediately struck by the tall, handsome and autocratic bearing of the Captain (Christopher Plummer), but she’s less impressed by the rather cold, super-regulated way that he treats his children as if they were little sailors under his command at sea. They march instead of play, they wear uniforms instead of normal kiddy clothes and they jump to attention when the Captain blows his shrill whistle.

Where’s the love? Where’s the heart? Where’s the music, the singing and dancing and, God forbid, the fun? The Captain does love his children very much but he seems unable to show them this love. Certainly it’s hidden beneath layers and layers of strict, in fact rigid, naval-style discipline, timetables, constant drilling and whistles. Always with the whistles.

Maria sets out to bring the heart, the music and the fun back to the sad Von Trapp household. Such things have been practically banned from the household by the Captain, because they remind him of his late wife and the pain of his bereavement.

That’s all well and good for Georg (inexplicably pronounced not as George but as Gay-org with two hard ‘g’s), but it’s surely a bit unfair on his children, isn’t it? After all, they lost their mother, didn’t they? Should they lose everything else that’s good and nice and fun in life as well?

The children, ranging from sixteen-going-on-seventeen-year-old Liesl to five-year-old Gretl, with Friedrich, Louisa, Kurt, Brigitta and Marta in between, all adore Maria and are more than willing to help her to restore the fun and games to their heretofore excessively regimented lives. With Maria encouraging them, they play to their hearts’ content, they sing and dance and run and climb trees and fall in the lake and get filthy dirty and soaking wet as kids are meant to do.

The Captain, though he won’t admit it, is enchanted by Maria, by the way she dispenses with rules and silly whistles and just whole-heartedly throws herself into loving the children and being there for them in a way that previous governesses were unable to comprehend.

There’s an immediate attraction between the two adults that quite flusters Maria and flummoxes the Captain. Who knows if they’d have ever done anything about it if it hadn’t been for a fly in the ointment in the form of the marriage-minded Baroness Schraeder? Marriage-minded for herself and the Captain, that is, not for Maria and the Captain, goodness me no. This one’s purely all out for Number One. 

The Baroness is the Captain’s girlfriend at first and then his fiancée. The children and Maria are deeply unhappy at the thought of the Captain marrying the Baroness. She’s blonde, attractive, uber-sophisticated and super-rich, but she’s cold and superficial also and probably older than the Captain.

She knows very little about children (‘Have you ever heard of a marvellous invention called boarding school?’ she says slyly to family friend Uncle Max) but her worldly-wise eagle eyes spot immediately the mutual attraction between Gay-org and the couldn’t-be-less-sophisticated-if-she-tried Maria. I love it when the Baroness says to Maria:

‘Come on now love, we’re both women, who are ya kidding? Let us not pretend that we don’t notice it when a guy is making eyes at us.’ Or words to that effect…!

The Baroness isn’t the only fly in Gay-org and Maria’s ointment. It’s the time of Nazism and the Third Reich and Hitler has just Anschlussed Austria to Germany, much to the seeming delight of most of the Austrian populace. Well, they lined the streets of Austria cheering for Hitler’s troops and they carpeted the Nazis’ path with flowers, didn’t they?

Anyway, Gay-org is at least one Austrian who is virulently opposed to Nazism and he’s brave enough to speak his mind on the subject. When, by virtue of his status as a naval war hero and his naval expertise, he’s given an important commission in the navy of the Third Reich, he finds himself with only two hard choices.

He can accept the commission for the sake of his family’s safety, but to go along with Nazi beliefs and ideology would sicken his stomach. Or he can throw the commission back in Hitler’s (represented locally by Gauleiter Herr Zeller) face and risk bringing the wrath of the powerful Third Reich down on his own and his childrens’- and Maria’s- heads. What to do? Richer men than he, who might have thought they were safe by virtue of their position, probably fell afoul of Hitler’s terrible regime…

The scenery and the songs are to die for. The hills are alive with the sound of music indeed. I love the clever lyrics and puppetry of ‘The Lonely Goatherd’ and I cried my eyes out when Gay-org sang ‘Edelweiss,’ with the poignant last line of ‘Bless my homeland forever,’ at Uncle Max’s precious folk music festival.

The Reverend Mother is an absolute boss when she belts out ‘Climb every mountain’ in an effort to show Maria that sometimes you have to work really fucking hard for what you want, lol. You go, girl.

It’s sad when Liesl’s childhood beau Rolph has morphed into a fully-fledged-and-indoctrinated member of the Hitler Youth, and the scenes in the beautiful Abbey crypt are nail-bitingly tense.

I only saw this film properly, from beginning to end, for the first time yesterday, but it’s going on my Christmas to-watch-every-year list from now on. All together now: ‘Doe, a deer, a female deer, ray, a drop of golden sun…!’

The Von Trapp Children:

Liesl: Charmian Carr.

Friedrich: Nicholas Hammond.

Louisa: Heather Menzies.

Kurt: Duane Chase.

Brigitta: Angela Cartwright.

Marta: Debbie Turner.

Gretl: Kym Karath.

Did any of ’em grow up to have eating disorders or take their clothes off for nudie mags or porn flicks? Hang on, I’m looking ’em all up now…!

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor