** (out of four) By Aaron Dumont There's something a bit wrong with Our Hitler, the monumental-but-ultimately-shallow roundabout of culture, art, politics and, in general, things as a whole. It teeters, wobbles and gets usually off-balance when stumbling across the line between the realms of sprawling masterpiece and dried-up encyclopedia. It's a bit magical, lucid and shows off all its cold style marked by monologues ranging from misguided to impassioned, but comes up short to its vast promises, ambitions and illusions, even with its massive eight-hour runtime. Taking place inside a snowglobe, Our Hitler, using static long-takes and, as Sontag said, "exploded mental states" (ones that incorporate symbols and designs that are both stunning and flatulent), mainly functions as a slipstream. It tries to rejoice and realign, but eventually can't, whether for the 20th Century or for itself--the endless child's-play interpretations and just plain annoying remarks and near-sermons (the things that hide some brilliant, gorgeous scenes and quotes, from Syberberg's statement on the overuse of the word 'culture' to Hitler playing the molester in Lang's M) turn from daring to stiff, from lively and fiery to sparse and didactic.In this way, the movie cannot truly express itself; it eventually degenerates to a string of borrowed, drafted mock-expression some of the time (the pseudo-Anger sets and lights, the Wagner-obsessive theater-dream-visuals, the Marker/Mekas essay style but without the truly developed mind, heart, soul and maturity, etc) and all the headsmackingly indulgent image-is-dead, queasy speeches on war, cinema, the psyche, and of course, the "Hollywood fascists" seems not much more than a flea market of insight, passions and emotions--that is, between the momentary universal feelings and fleeting grace, the movie panders to its audience often more than not.It sinks and spirals down the rabbit hole of beautiful fantasies and dreamscapes, but never keeps on its feet when venturing off into stylistic experiments and wild narrative tones. It's like a Wikipedia retelling of myths and revolution, a textbook summary on a great work of art--it's like the Sans Soleil of long, bored lectures--it seems at the end of the labyrinth, between the bits and pieces of poetry and the glorious feat of it all, coupled with endless faux-metaphysics, clueless excersises in knowledge and philosophical dress-up, you'd be hard-pressed to find much more than drained thought.

Hans-Jürgen Syberberg's mammoth meditation of Hitler and the German people who brought him to power is something that is only possible to describe as a physical entity.One can not truly explain what effect that it will have on the viewer. Its a four part film who's total running time is close to seven hours Total almost anti-cinematic with static sets, actors playing multiple roles, puppets, music, audio and video of the 1930's and 40's, narration and a dream logic that makes this more film as immersion tank rather than as narrative film. Its the sort of thing that one can not hope to grasp in a single viewing simple because there is too much to grasp and because things don't connect until you've gotten all the way to the end. (As the Movie Habit website said: "...much like a going to a Wagnerian opera. It's long, loud, and at any given moment it seems not to know where it's going. But when you get to the end, you know you've been someplace special.") Its a film that is clearly a work of art both pretentious and glorious. Actually this is a film that is all things at once good and bad, riveting and sleep inducing, masterful and amateurish. It is a film that is unlike any other that I've ever seen, not only in style but in effect, I was both bored by the film and utterly captivated.It is nothing so much as a head trip of the highest order. This is not a film of facts but of ideas.. Its an examination of what brought Hitler to power, could the national view of a classically romantic Germany have been the cause? At the same time what does all of this say about ourselves? 30 years on with the change of American politics from a less then simple democracy into battles of cults of personality are we heading toward something similar with the idealized ways of seeing the world that our leaders ask us to believe blinding us to the road to ruin? Its something to consider.Is it a great film? yes, I think it is. I don't know how many people will have the endurance to get to the end of the film owing to its often static nature, and heady discussions, but for those who are daring it is a unique experience, once that will haunt you around the edges.I think the best way to describe the film is to answer the question how is it? Yes, yes it is. (Meaning however you think the film is thats what it is) It is a masterpiece since its constantly provoking a reaction

I came across this film by accident whilst trying to locate another German made film and on discovering that the entire 7 hours is available free in real-time I began to watch. Those seven hours flew by and by the end I was left feeling stunned and somehow very insignificant. This is not a film to invite a few pals round for and throw pizza and beer in for good measure. This is a film to watch alone or maybe with someone who is interested in cinema as a means of transcending time and place. The images and audio presentations you will see and hear may well change your perceptions on life itself. Why this film is so little known is a mystery and perhaps it is only for the few and not the masses. It hits a spot somewhere deep inside and nestles in there and will never be entirely removed. See it and understand why 80 million Germans believed Hitler, a maniac, became for many, a god.

Ever try tuning in a far away A.M. station? From another country perhaps, or even in your own language? Well, that just about sums up what seeing this movie is like. Part lecture (especially the last quarter), part play, part performance art, part Howdy Doody, this film rises to your conscious level of thinking at times, only to slip away in the wash of images, radio transcriptions and "creative" presentation (i.e. - acting). Challenging on all levels at all times, the viewer cannot help but feel lost some times and playing catch-up at all times. Good film to see when stranded at home, on the couch, with a fever of one-hundred and three. The fever would definitely be a plus.