"Harlan - Im Schatten von Jud Süss" is a German-language 100-minute movie from 8 years ago. It is probably the most known work by writer and director Felix Moeller. The topic here is the title character: Veit Harlan, a German filmmaker during the days of Nazi German back in the 1930s and 1940s. What Leni Riefenstahl was for documentaries is what Harlan was to fiction films and probably in an even more serious way as he is the filmmaker behind the most infamous Nazi propaganda movie "Jud Süß" that was ordered by the German government in their attempts to make Jews look like the evil guys in order to push their ways of killing millions of Jews in concentration camps and get the support from the people for their genocide.In this documentary here, we find out mostly how Harlan's children and grandchildren see their ancestor today with all they know about him. Some are critical and put the blame on him, some seek to justify, other prepare not to say a whole lot at all. Overall this was a pretty good documentary that is worth seeing for everybody with an interest in the years of Nazi Germany. I believe, however, it is absolutely essential to be aware who Veit Harlan is and you probably either should have seen "Jud Süß" to understand the context or at least know a lot about the film. The scenes from the movie in this documentary help for sure, but I don't think they are sufficient to help people understand the context completely if they are not aware with the film "Jud Süß" or the director Veit Harlan. But then again, why would they this documentary if they don't care about the subject. I personally enjoyed this more than the Tobias Moretti movie as it is so close to Harlan's family and their insights add a lot more than any expert could due to their family history background. A well-crafted work. Go see it.

HARLAN IN THE SHADOW of JEW SÜSS Viewed at LA Jewish Film Festival, 2010 by Alex Deleon-Pevner.Though almost forgotten today, Veit Harlan was one of Nazi Germany's most notorious filmmakers. His most famous film was the venomous anti-Semitic propaganda film Jud Süss (1940) -- required viewing for all SS members during the Nazi era. First off it needs to be made clear that this new documentary is not be confused with the German dramatic feature, "Jud Suess – A Film without a conscience" -- which was premiered at the Berlin Film Festival earlier this year. "Jud Suess" (A film without a conscience) is basically a fictionalized docu-drama focusing on Ferdinand Marian, the actor who (perhaps unwittingly) played the Jud Suess title role in the original Nazi propaganda film, and director Veit Harlan is a secondary character here. Both Veit and Marian are, of course, played by contemporary German actors. The new documentary zeroes in on the director himself, Veit Harlan, with various swatches of archival footage of him and his associates included -- but it is primarily about the legacy of guilt feelings passed on to his progeny right up to the present. Some illustrative scenes from the 1940 rabidly anti-Semitic "Jud Suess" are shown, but most of the film centers of interviews with the direct descendants, children, grandchildren, nephews and nieces, of the notorious director who was indicted for war crimes immediately after the war, but was twice acquitted by a "friendly" (i.e., Nazi sympathetic) judges. Harlan continued to make films after the war and never apologized for his key role fostering the intense racist policies of Goebbels and the Nazis, but various excuses have been made for him, such as that he was not really an anti-Semite but rather an opportunist who made the films offered him under the Nazi regime "as best he could". One son however, violently disagrees and became such a hater of his father's Nazi collaboration that he has devoted his entire life to exposing it over and over in every way possible. Another son has no such qualms and claims that nobody has a right to ask him how he felt or feels about his father — a hard one to argue with. A grand daughter raised in France and speaking in French admits she has always been somewhat ashamed to be identified with him. A nephew living in Capri, Italy, where Veit died and was buried, takes the guarded view that his uncle was basically an artist who merely "got carried away a little". A daughter, Maria Koerber is an actress who took her mother's last name to avoid the indignity of carrying the Harlan name around with her and makes no bones about her disgust with Harlan's activities. Most peculiar of all is the testimony of Christiane Kubrick, (birth name Christianne Susanne Harlan, born 1932) who is a niece of Harlan's and the widow of the late American movie director Stanley Kubrick! -- She also takes the shaky position that Veit was more of an artist than a Nazi per-se, and claims that Stanley always wanted to make a film about her uncle working in Nazi Germany, but never quite got around to it. Too bad — that would have been something to see!All in all, Felix Moeller's film is less about Harlan than about his immediate descendants and the burden of guilt they bear (or do not bear) up to the present day half a century after the director's death. Mr. Moeller spent a lot of time tracking these people down and getting them to talk to the camera about their feelings, being the progeny of a man who, whether he was a card-carrying member of the party or not, unquestionably made a major contribution to the extermination of the Jews. What comes out is an amazing spectrum of commentary: defensive, offensive, tentatively neutral, anger, excuses, leave-us-the-hell- alone, silence, befuddlement, sorrow, who cares anyway — just about every kind of response one can imagine under the circumstances. Director Felix Moeller has a certified filmmaking pedigree, being the son of outstanding German director Margarethe von Trotte and has made a number of other bio- documentaries, but this one is very special in that it amounts to a depth probe into the collective psychology of an extended German family with a rich Nazi pedigree which, in passing, can easily be seen as the reflection of the mixed feelings regarding the legacy of the Third Reich that still float about in the collective unconscious of Germans today. Kudos, Herr Moeller. Too bad your film was not seen by more people (Jewish and Non- Jewish) here. Chaim Pevner; (Alex Deleon) Miracle Mile, L.A. May, 2010

This is one of those documentaries where a bunch of talking heads yak about the central subject, and there's a lot of cutting back and forth. In this case, the subject is the guy who directed what is easily the most vile and anti-semitic movie ever filmed, and the talking heads are his children and grandchildren, who offer up various excuses or condemnations. The problem is, there's not much to say. The subject of the film, Veit Harlan, is quickly revealed as an opportunistic slimebag, who was more interested in his career than in the millions of lives his film helped end. Once that little detail is out of the way, what's left to talk about? The documentary offers up plenty of padding — scenes from Harlan's overblown, mostly forgotten films, stock footage of Nazis, etc. — but there's not enough to sustain interest. After 15 or 20 minutes of repetition, you've got as much of the picture as you'll ever want.

I fully agree with the statement of another commentator of this film. It is confusing and does not give any new information. In fact, if you have not heard much about Veit Harlan before, you will be rather lost. I would like to see how he grew up, what background he came from, what his friends thought of him and so on. Instead we get a lot of interviews with his children and grand children and nieces and nephews. But many of them don't really have much to say and time is running… At the end of the movie you wonder that so little info could be given in so much time! It would have been great for example to have a closer look at his earlier films, which he did before he got the full attention of Goebbels, as well as the films he did after the war. Since he claimed that the Nazis had a huge influence on how his most notorious films of that time look, I would like to know how they differ from the uninfluenced ones. But they are hardly mentioned here. One can only dream about the idea of what for example Marcel Ophuls would have found out about Veit Harlan