There’s a scene in Mark Herman‘s 2008 film The Boy In The Striped Pyjamas in which the concentration camp commander plays for his family and officers, by way of an after-dinner entertainment, the Nazi propaganda film The Fuhrer Gives the Jews a City. It is a fabricated account of Theresienstadt which portrays life in the camp as a kind of Butlin’s with a dash of Mittel European cafe culture. (23 minutes of rushes survive; there is an extended sequence on youtube.)
In the context of The Boy it is a moment in which a half-fiction is wrapped inside a half-fiction in pursuit of a greater truth. Theresienstadt was briefly converted into a model camp in 1944 as a result of political and diplomatic pressure by the Danish government, which wanted assurances about the well-being of Danish citizens sent there. With hindsight it is interesting that diplomatic pressure by the government of an occupied state had such an effect on the German government during wartime.
Most of the prisoners who did the work of sanitising the camp were shipped out immediately to Auschwitz, including the director of the film Kurt Gerron, a Theresienstadt inmate, and his family, who were murdered on their arrival there. The Nazis thought about distributing the resulting film, but decided against; it’s not clear, at least from some brisk online research, how the rushes were found.
When Herman decided to use sequences from the Theresienstadt film as part of his version of John Boyne’s novel, he found (unsurprisingly) that the surviving prints were old and scratched, and would not have looked good cut into a modern feature film. So they set about re-shooting the Nazis’ propaganda film. There are scenes from this modern shoot on the DVD of the movie. Mark Herman said that re-making it made him feel uncomfortable. I bet it did.
The image of the crew shooting The Fuhrer Gives the Jews a Village is a public domain image via Wikipedia.