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HITLER FIRES — HOLLYWOOD HIRES
(Continued from page 13)
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His announcement, featured in Variety,
followed immediately upon the effectua
tion of Hitler’s new “Kontingent law”
on July 1. Goldwyn’s lead was quickly
hailed by other producers—who had al
ready felt the weight of Hitler’s prejudice
in hampering the operations of their dis
tribution of representatives abroad—and
the movement to make Hollywood a haven
for the harassed artists ousted from UFA
and other German companies rapidly be
came general.
Conditions precipitated by Hitler’s
“Kontingent law” are of singular inter
est in this country.
Previously, the German Government
had consistently denied anything official
in the Jew-baiting program, as far as the
film industry was concerned.
True, orders had been variously re
ceived by all film companies in Germany,
Americans included, to fire all Jews in
their employ; but those orders had been
called unofficial and ascribed to the in
dividual prejudices of Nazi party mem
bers, not to the Government itself.
Further, it had been rumored that the
forthcoming law would have a loophole
in it, easing the severity of the anti-
Semitic prohibition for foreign-made films.
But when the date came and the de
cree was studied in the offices of Will
Hays, such exemptions as appeared in it
were dubiously worded, and the whole
decree was a bludgeon to drive Jewish
talent out of German filmdom with no ifs,
and or huts.
The setting up of Hitler’s “Council of
Three,” to wield said bludgeon, was all
the more interesting because a distinctly
pretty and appealing little German act
ress of the ingenue type, Tony von Eyck,
was named as the swashbuckling Hitler’s
pet representative, with full power to en
force this extremely grim law. And she
has.
The greatest blow to the future pres
tige of German films was struck by an
actor who is, himself, of the officially ac
ceptable “Aryan” heritage—no less a star
than Gustav Froelich, the much-adored
matinee idol and Germany’s favorite
actor. Froelich’s wife is the glamorous
Gitta Alpar, famous blonde soprano and
actress. Gitta is Jewish.
And when Tony von Eyck, clad in her
new authority, summoned her former per
sonal friend, Gitta, before her and, with
cold demeanor, banished Gitta from the
German stage and screen, the handsome
Froelich proved as perfect a lover in
real life as he is on the stage. He an
grily brushed aside the suggestion, made
from highly influential quarters, that he
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should divorce Gitta under the new Hit
ler law which grants divorce to an
“Aryan” under the mere proof that the
other party is a Jew. Froelich quit the
German stage and pictures, abrogated his
unfinished contract and fled to Austria,
where he joined his wife.
Since then, Gustav and Gitta Alpar
have been in Budapest and Vienna, and
doing a little work for small independ
ents under short-term contracts. That
Hollywood will presently offer them a
refuge—and an excellent living with
world-wide fame attached—seems fore
shadowed whether Hitler and Tony von
Eyck like it or not.
Other stars, who have left Germany
in droves, include Lily Darnita, as well
known here as abroad; Maria Solveg,
who gained a New York following a few
years ago in the Max Reinhardt produc
tions at the Century Theatre; Rose Bar-
sony, Franziska Gaal, and Willy Foost,
who did a memorable job in “Two
Hearts in Three-Fourths Time.”
Then there’s Hans Albert—“Germany’s
Valentino”—blonde, square-jawed, blue-
eyed, husky, in fact, the perfect traditional
German type. Every maedchen in tier-
many has worshiped Hans Albers. Al
ways he has been the hero, rescuing the
girl, annihilating the villain, and shed
ding glory on the Teutonic character.
But the beloved Albers, as Hitler’s luck
would have it, is Jewish! And he’s had
to pack his grip and get out of the coun
try that loves him. All of which may
prove to be solidly to Hollywood’s ad
vantage, with the development of the
policy launched by Sam Goldwyn.
Meanwhile, at Will Hays’ offices it is
of record that the foreign branch of
America's film industry has been thrown
into confusion by the Hitler edicts. A
great many of Hollywood’s ablest com
mercial representatives in foreign lands,
selling and distributing films, are Jews.
These have found their sales efforts ham
pered and handicapped in Germany from
the backwash of the Hitler wave of
perjudice.
So there’s been a considerable, if quiet,
shifting about of these American repre
sentatives, with the Jewish distributing
agents from Germany being put in Lon
don and l’aris and other less prejudiced
spots, and their posts being allotted to
men whom Hitler can’t harass. All this
trouble has made Hollywood resentful.
It would like to get even, in a way that
wouldn’t disturb the State Department.
Getting stars like Gustav Froelich,
Hans Albers and the rest, by Hitler’s
own act, seems a highly adequate way of
getting even.
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