Nazi Concentration And Prison Camps 1945 ENG MULTISUB 1080p WEB-DL x264

Year: 1945
Country: United States
Director: George Stevens
Cast: Dwight D. Eisenhower, Omar N. Bradley, George S. Patton, Hayden Sears
IMBD: Link

Language : English
Subtitles : English, Danish, German, Spanish, Finnish, French, Italian, Norwegian (Bokmål), Dutch, Polish, Portuguese, Brazilian Portuguese, Swedish, Turkish





Who can forget the electrifying drama surrounding the September 1934 National Socialist Party rally in the medieval city of Nuremberg as portrayed in Leni Riefenstahl’s epic documentary Triumph of the Will? At the intersection of politics and aesthetics, the viewer watches casts of thousands greet their Messiah as he descends from on high to unite his people, hoping that he would restore their nation to its supposedly deserved grandeur prior to the devastating outcome of the Great War and the humiliating Treaty of Versailles. With the new leader, the Thousand Year Reich would have a chosen place in world history. Now, starting on November 20, 1945, the same officials of his government who marched alongside him find themselves once again in Nuremberg, not to be celebrated this time, but judged for the heinous acts they orchestrated in the name of the German nation. Their godlike leader would not join them, having taken his life seven months earlier in the tomb-like bunker of Berlin.


In mid-afternoon on November 29, following tedious presentations of documents and detailed commentary, the atmosphere changed in Court Room 600. Instead of eyewitnesses or official Nazi records, the prosecutors submitted the documentary Nazi Concentration Camps as evidence of the Third Reich’s policy of the elimination of the Jews and other undesirables—enemies of the state. This visual testimony was long in development. From the moment General Eisenhower experienced the horrors of the concentration camp phenomenon at Ohrdruf seven months earlier, the decision was made to film and screen images of the Nazi atrocities at a potential International Military Tribunal where the perpetrators would be tried. Eisenhower’s statement, “The things I saw beggar description,” reinforced the resolve to film the liberation of the camps so that the scenes could be documented in order to refute any possible denial of the atrocities or the attributing of this to propaganda. Yvonne Kozlovsky-Golan discusses how these first images of the camps formed our early understanding of the Holocaust and highlights the lasting influence of the visual image through the screening at the trials: “As visual exhibits, films can offer incontrovertible proof of a reality that might appear invented or exaggerated if it were represented as written evidence—let alone as oral testimony, which could be attacked or undermined.”

Lawrence Douglas, in a most comprehensive analysis of the use of the film Nazi Concentration Camps at the Nuremberg Trial cites Primo Levi’s comment by Nazi hunter Simon Wiesenthal in The Drowned and Saved in his conversations with his fellow captors who all agreed that if they survived no one would believe their stories: “And even if some proof should remain and some of you survive, people will say that the events you describe are too monstrous to be believed: they will say that they are the exaggerations of Allied propaganda and will believe us, who will deny everything, and not you.”

Jackson prepared the audience for these films in his opening statement as he described in grim detail many of the criminal activities of the Nazis, including experiments, especially at Dachau. He continued by alluding to the campaign of General Eisenhower to notify the West of the horrors of the concentration camp:

We will show you these concentration camps in motion pictures, just as the Allied armies found them when they arrived, and the measures General Eisenhower had to take to clean them up. Our proof will be disgusting and you will say I have robbed you of your sleep. But these are the things which have turned the stomach of the world and set every civilized hand against Nazi Germany … I am one who received during this war most atrocity tales with suspicion and skepticism. But the proof here will be so overwhelming that I venture to predict not one word I have spoken will be denied.

For the first time, film would be used in this first-ever international trial, creating a strong visceral effect on the audience. The Department of Defense originally requested the film footage for the potential Military Tribunal. Hollywood film director George Stevens assembled the graphic Allied footage from the liberation of twelve camps in Austria, Belgium, and Germany: Leipzig, Penig, Ohrdruf, Hadamar, Breendonk, Hannover, Arnstadt, Nordhausen, Mauthausen, Buchenwald, Dachau, and Belsen. The six reels, lasting approximately two hours, reflected 6,000 feet of the 80,000 feet shot by the Americans and British cameramen during the liberation of the camps.

At the afternoon proceedings, Colonel Robert Storey informs the court that at the request of the defendants’ counsel made in writing, the Nazi Concentration Camps film was screened the day before yesterday (November 27) in the courtroom on that evening. Eight members of the German defense counsel came to the viewing of the film. Dr. Rudolf Dix advised Col. Storey that he would only attend if forced to do so. Thomas Dodd, in charge of the projection of the film, notifies the court that the prosecution intends to prove that all of the defendants knew that these concentration camps existed as instruments by which they retained their power as well as suppressed any opposition to their policies. Dodd then concludes the attempt to link the horrors of the concentration camps to the defendants:

Finally, we ask the Tribunal in viewing this film to bear in mind the fact that the proof to be offered at a later stage of this Trial will show that on some of the organizations charged in this Indictment lies the responsibility for the origination, the control, and the maintenance of the whole concentration camp system: Upon the SS, the SD—a part of the SS which tracked down the victims—upon the Gestapo, which committed the victims to the camps, and upon other branches of the SS which were in charge of the atrocities committed therein.

At that point Associate Counsel James B. Donovan states that the film to be presented as evidence (Document 2430-PS, Exhibit USA–79) had been compiled from motion pictures taken by Allied military photographers, while the narration was based on the reports of the military photographers filming the camps at their respective liberation.

The United States will present to the Tribunal with its permission a documentary film on concentration camps. This is by no means entire proof which the prosecution will offer with respect to the subject of concentration camps. But this film which we offer represents in a brief and unforgettable form an explanation of what the words “concentration camp” imply.

Following the darkening of the court room, the film opens with a written statement by Chief Counsel Robert H. Jackson: “This is an official documentary report compiled from United States Army films made by photographers serving with the Allied armies as they advanced into Germany. The film was made pursuant to an order by General Dwight D. Eisenhower, Supreme Commander, Allied Expeditionary Forces. (Signed) Chief of Counsel, Robert H. Jackson.” On screen, George C. Stevens, then Colonel in the US Army, testifies that between March 1 and May 8, he participated in the US Signal Corp filming of Nazi concentration camps and prisons liberated by Allied forces. He testifies by a signed affidavit that on August 27, 1945 these motion pictures “have not been altered in any respect since the exposures were made.” Navy Lt. E. Ray Kellogg, Director of Photographic Effects, offers his affidavit affirming that not one image of the film was retouched or distorted in any manner, and that the original negatives lay in a US Signal Corps vault.
The emphasis on the affidavits introducing the documentary as well as the prologue to the film itself was an endeavor to ensure that none of the material evidence had been tampered with to maintain “victors’ justice.” Following these testimonies a map of the various concentration camps appears on the screen indicating the vast extent of the camp network.


The Nazi Concentration Camp film built up to a crescendo in documenting the most horrific scenes of the liberation of the camps, the bulldozing of thousands of corpses. Anyone viewing these scenes could hardly forget the bodies being shoved along the ground, some head over heels, and into the open pit. The film caused a severe reaction among the entire audience in attendance, and especially from some in the dock. Telford Taylor writes in his Nuremberg memoir:

Even for those who, like me, had had an earlier viewing, these pictures were hard to bear. The defendants were among the many who had not seen them, and the effect was stunning … Schact turned his back on the screen to show that he had had no connection with such bestiality. Göring tried to brazen it out; the weaker ones like Ribbentrop, Frank and Funk appeared shattered.

Taylor further describes the reaction of the Nazi officials: “Frank, Funk, and Fritszche were weeping tears of shame and fear; Sauckel and Ribbentrop were also deeply stricken. The others were in better self-command, but visibly depressed.” This visual testimony, as Taylor observed, “hardened sentiment against the defendants generally, but it contributed little to the determination of individual guilt,” a common complaint about the legal objective of linking the Nazi defendants with the specific atrocities.

The Robert H. Jackson website, describing the timeline of Jackson’s involvement in the Nuremberg Trials, states the effect the film had on the audience:

After the excitement of the indictments and opening statements, the trial slowed in pace as the Americans began to admit enormous volumes of documentary evidence against the Nazis. But on November 29, the prosecution dropped a bomb with the showing of a documentary film titled “Nazi Concentration Camps.” This film, created from motion pictures taken by Allied forces liberating concentration camps and from Nazi films discovered by the OSS, showed for the first time the horrible crimes perpetrated by the Nazis. The effect on the viewers was immediately apparent. Justice Lawrence left without adjourning and Hans Frank was left unable to move.

G.M. Gilbert, one of the two prison psychologists during the trial, maintained a close vigil on the prisoners and their morale. Seated at the end of the dock he observed the effect of the film upon the Nazi leaders, jotting down his comments in one- or two-minute intervals. Gilbert thus offered a succinct description of the reactions of the defendants while they watched, or attempted to watch, the projection of the film. Some avoided looking at the unfolding dramatic scenes, as others, restless, squinted off and on as the images passed on screen. The scenes of women’s bodies being cast into the pit disturbed some, as did the testimony of a British soldier at Bergen-Belsen who says that they had buried 17,000 bodies thus far. Gilbert describes some of the reactions in his Nuremberg Diary: “Funk now in tears, blows nose, wipes eyes, looks down … Frick shakes head at illustration of ‘violent death’—Frank mutters ‘Horrible!’ … Rosenberg fidgets, peeks at screen, bows head, looks to see how others are reacting … Seyss-Inquart stoic throughout … Speer looks very sad, swallows hard … Defense attorneys are now muttering, ‘for God’s sake—terrible.’”

The damning visual evidence created ripples of disbelief, shock, and sadness, as all in attendance, save for some of the defendants, wondered how this absolute bestiality could be perpetrated on innocent civilians. The graphic images of the film had the power to sow seeds of regret in some of the Nazi officials while others remained bewildered by the sheer massive scale of the murders. Following the film, Hess denied the evidence, saying, “I don’t believe it.” Gilbert concludes his comments about the aftermath of the screening during this session: “Otherwise there is a gloomy silence as the prisoners file out of the courtroom.”

That evening in the prison, the defendants discussed the events portrayed in Nazi Concentration Camps. Speer’s reaction comes closest to the opening remarks of Jackson at the outset of the trial: “Speer showed no outward emotional effects, but said that he was all the more resolved to acknowledge a collective responsibility of the Party leadership and absolve the German people of the guilt.”

This compilation of tragic scenes in the film from a dozen camps indicates not only the wide range of Nazi techniques that reduced the camp populations but also furnishes details on the immense scope of the Nazi industrial system. Prisoners as slave labor kept the war industry functioning, while other inmates served as experimental subjects for medicine and science.

Thomas Dodd, one of the senior staff and Executive Trial Counsel, second in command to Justice Jackson, would on Day 19, December 13, reinforce the understanding of the nature of the concentration camp and describe in greater detail the lethal system in which it operated. This would assist in offering a more in-depth context of the camp system and its purpose:

May it please the Tribunal, we propose to offer additional evidence at this time concerning the use of Nazi concentration camps against the people of Germany and allied Nationals. We propose to examine the purposes and the role of the concentration camp in the larger Nazi scheme of things. We propose to show that the concentration camp was one of the fundamental institutions of the Nazi regime, that it was a pillar of the system of terror by which the Nazis consolidated their power over Germany and imposed their ideology upon the German people, that it was really a primary weapon in the battle against the Jews, against the Christian church, against labor, against those who wanted peace, against opposition or non-conformity of any kind. We say it involved the systematic use of terror to achieve the cohesion within Germany which was necessary for the execution of the conspirators’ plans for aggression.

We propose to show that a concentration camp was one of the principal instruments used by the conspirators for the commission, on an enormous scale, of Crimes against Humanity and War Crimes.

To bolster the evidence presented in court, the session on this day thus utilized documented material pertaining to the Mauthausen concentration camp in Austria including the shocking mortality records. (John J. Michalczyk)

[ About file ]

Name: Nazi Concentration And Prison Camps.George Stevens.1945.NF.WEB-DL.Atomic.mkv
Date: Fri, 26 May 2023 18:35:40 +0100
Size: 2,036,462,982 bytes (1942.122442 MiB)

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DRF<6: 0 ( 0.000 %)
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DRF=25: 3424 ( 4.033 %) #
DRF=26: 5167 ( 6.085 %) #
DRF=27: 12013 ( 14.148 %) ###
DRF=28: 21522 ( 25.347 %) #####
DRF=29: 11313 ( 13.324 %) ###
DRF=30: 9067 ( 10.678 %) ##
DRF=31: 5088 ( 5.992 %) #
DRF=32: 3695 ( 4.352 %) #
DRF=33: 2022 ( 2.381 %)
DRF=34: 1048 ( 1.234 %)
DRF=35: 122 ( 0.144 %)
DRF=36: 62 ( 0.073 %)
DRF=37: 56 ( 0.066 %)
DRF=38: 29 ( 0.034 %)
DRF=39: 5 ( 0.006 %)
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I-slices average DRF: 27.152997
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This report was created by AVInaptic (01-11-2020) on 1-01-2026 07:16:05