Great visuals, story delivers no surprises

Better Late Then Never

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

We are informed at the outset that "The following story unfolds the private life of the greatest scoundrel of our time". One would have thought that would have more aptly described Hitler himself, rather than Goebbels; but the Doctor would have been as flattered to be considered important enough to get an entire film to himself depicting him (as 'Inglorious Basterds' later put it) as "The number two man in Hitler's Third Reich", as he would have been disdainful of the result. At a time when far less was then known about him than has been documented since his death, as the most visible and vocal member of the Nazi hierarchy after Hitler it was widely assumed during their lifetime that Goebbels was the real brains behind the Führer. This was certainly how he was portrayed (superbly played by Henry Daniell) in Chaplin's 'The Great Dictator' (1940). Only after the war did it emerge that Goebbels had far less influence over Hitler than had generally been supposed. But that is the least of this film's many inaccuracies; and it shares with Stuart Heisler's 'Hitler' (1962) a similarly tedious fixation with it's subject's love life rather than his political activities.Originally titled 'The Private Life of Paul Joseph Goebbels', but at some point saddled with the absurd 'Enemy of Women', the film's writer-director Alfred Zeisler was one of Hollywood's many exiles from Nazi Germany and was thus in some instances drawing upon his own memories of the period when Goebbels was consolidating Nazi control over the German film industry; while at other times embellishing with the benefit of hindsight. The result is a bizarre but lamentably dull mishmash of surprisingly recherché historical information and total fabrication. On the one hand the film surprisingly includes the Austrian clairvoyant Erik Jan Hanussen (later portrayed by Klaus Maria Brandauer in István Szabó's 'Hanussen' in 1988) accurately predicting the Reichstag fire and the rise of Rommel; and Goebbels' secretary was indeed named Hanke, as he is called here. But the character of Maria Brandt, an Austrian actress with whom the Doctor becomes chronically obsessed - not to mention the time frame involved - bears no relation at all to the affair Goebbels actually had with the Czech actress Lída Baarová during the thirties. Stranger still, in 1931 Goebbels married Magda Quandt, by whom he had six children; but in this version of events Joseph seemingly remains a bachelor, and Magda, as played by Sigrid Gurie, appears simply as the mother of a boy young Joseph is teaching history, and has just one word of dialogue: "Harald!" The Führer himself is seen only fleetingly in longshot, Himmler is shown briefly from behind sounding like a Hollywood gangster; and that's all you see of the other Nazi leaders. Goebbels himself disappears from the film for long stretches, including much of the final third (Claudia Drake, who plays Maria Brandt, is ominously billed above supposed lead Paul Andor); and we are instead forced to watch Maria's extremely uninteresting romance with handsome and equally fictitious Dr. Hans Traeger. None of this is made any more involving by Zeisler's sluggish direction; and the end result is, alas, much duller than it sounds.

Of all the gang around Adolf Hitler probably the sickest and most degenerate was Joseph Paul Goebbels. Minister for propaganda and public enlightenment, he was one of the few who was not trying to cut a deal for himself when the Third Reich was in its last days. He stayed loyal to the master to the bitter end.If Dr. Freud could have gotten Dr. Goebbels on the couch I'm sure his notes would have been fascinating. Like Somerset Maugham's protagonist Philip Carey in Of Human Bondage, Goebbels was born with a club foot and that together with a raging libido was the story of his life. When he was a nobody he couldn't get a date, when he became minister his job included supervision of the German film industry. He had a casting couch that put L.B. Mayer's and Darryl Zanuck's to shame.This film concerns his obsession with one he couldn't get. Claudia Drake who laughingly rejects him while he was trying to earn a living as a tutor pays for it the rest of the movie. She and father H.B. Warner and husband Donald Woods. Goebbels never forgot a slight in real life.Wolfgang Zilzer plays Goebbels and it's a change from Martin Kosleck who usually played Goebbels when he was a character in film. If you want to see a good portrayal of Goebbels in a good film I highly recommend The Bunker where Cliff Gorman and Piper Laurie played Joe and Magda Goebbels. She's a cipher here and that's wrong in and of itself. She was as sick as he was, maybe worse. But she completely put up with his womanizing because she didn't believe in letting the grass grow under her feet. There's a fine account of that in Albert Speer's memoirs.Making Magda a peripheral character in the story is a big mistake. And the general shoddiness of production doesn't help either. In fact at the end of the film the narrator says this story isn't finished and how could it be in 1944. Still this World War II propaganda has some good moments in it and should be seen as a curiosity.

(There may be Spoilers) Highly fictional account of the life and times of Nazi Minister of Propaganda and Public Enlightenment Dr. Paul Joseph Goebbels, Wolfgang Zilzer. In fact the movie "Enemy of Women" almost totally overlooks Goebbels involvement with the Nazi Party and his meteoric rise to become one the most powerful men in Nazi Germany and Nazi occupied Europe. As well being his Fhurer's most loyal and trusted henchman who was to stay with his beloved Fhurer in his bunker in Berlin to the very last in April/May 1945. Then killing, together with his equally fanatical Nazi wife Magda not only himself but their six young children as well. The film instead concentrates on Josephs very possessive and weird love life.We see the early life of Dr. Goebbels as a failed writer, of dime store novels and stage plays, being kicked around by a young woman who he tried to make out with. Goebbels in then kicked out of the house by the girls-Maria-outraged father Colonel Brandt, H.B. Warner, when he clumsily tried to make a play for her. Depressed and feeling like sh*t Goebbels wonders into a beer-hall and for the first time hears ultra-German Nationalist Adolf Hitler give one of his hypnotic and spellbinding speeches. Right there and then Goebbels was hooked and joined Hitler's National Scoialist, or Nazi for short, party which he would be a member of-in good standing-for the rest of his life.Now years later In a position of power Goebbels can get even with all those wise-guys bluenoses and bullies who kicked him around when he was a nobody and a more or less 98 pound weakling in the world of power and influence. Getting even with old Colonel Brandt who threw him out of his house when Joseph tried to grab and kiss his actress daughter Maria, Claudia Drake, Goebbels puts out the word to SS chief Himmler that Brandt is a disloyal traitor to Germany. That has Himmler send a few of his goons to the old mans apartment who end up putting him away with a load of slugs shot into him. Goebbel now seeing his chance to get in good with the bereaved Maria makes as if he's very depressed over her fathers tragic death which, unknown to Maria, he was responsible for. In fact it was Goebbles himself who was targeted for elimination by Himmler but played it cool after being alerted by his friends. Goebbles gets as close as he could to Adolf Hitler knowing Himmler wouldn't dare have him shot while he was standing next to the Furher. Getting Maria leading parts in plays and movies, through his connections as Propaganda Minister, Goebbles now expects some payback from her, like being his mistress. Instead she falls in love with charming and handsome Vienna doctor Hans Traeger, Donald Woods, which has Goebbels throw a fit. Before he can do anything the two lovebirds, Maria & Hans, skip out of Germany to Hans' native Vienna. Married and living in bliss the Traegers have it made in old Vienna until March 1938 when the German/Austrian "Anschluss" happens with the German army marching across the German/Austrian border and uniting the two countries under Nazi rule. Stuck with nowhere to go both Maria and Hans are now at the mercy of the Nazi regime and only with Goebbles' help can they ever be able to get out of the country and into Switzland; but that help will come at a very heavy and heartbreaking price. "Enemy of Women" is more like a soap opera then a historical movie with that rascal and scoundrel Joseph Goebbles having one affair after another with beautiful and buxom Frauleins as Germany goes down the road to destruction in the Second World War. What was Goebbles greatest love in the movie Maria Brandt ends up getting killed in a daylight USAAF bombing raid on Berlin. Poor old and crazy Joseph now all by himself gives one of his lying speeches, to the German people, on how the allied bombing campaign over Germany is a total bust. Goebbles also boasts that if they, the Americans and Brits, ever try to invade "Fortress Europe" by crossing the English Channel they'll get the worst beating of their lives. As usual Goebbles was wrong dead wrong. He, the real Joseph Goebbles, was to die by his own hand less then a year after "Enemy of Women" was released.

Considering its lowly Gower Gulch origins, and compared with the overblown hysterics and buffoonish characterizations of most Hollywood propaganda films, this is a remarkably heartfelt and even-handed treatment of lurid and melodramatic material. Goebbels is delineated as a tragically flawed human being rather than a cartoonish ogre, and his final scene amidst the rubble is strangely ambivalent. Much credit must go to director Zeisler (best known for his minimal-budget adaptation of "Crime and Punishment", entitled "Fear") who has taken measures to add a psychological and emotional background to the principals, despite the cardboard situations and some risible theatrical devices (particularly Goebbels' incidental invention of the "Heil Hitler" salute). Equally praiseworthy is the noirish cinematography of the incomparable John Alton, whose precise lighting of eyes, faces and profiles adds so much depth to the characterizations.