So... whose side did you take?

On the basis of this film alone, which I just watched on DVD for the first time, I'm on Furtwangler's side. I wasn't even convinced that the Major was sincere in his pursuit of Furtwangler. He was going after him like a maniac because his superior told him that he had to get Furtwangler. He seemed to be playing the role of a Nazi interrogator, as it was presented in the film

I liked the film, but I expected it to have a bit more about the trial in which Furtwangler was acquitted. There obviously is a lot more to this story. The attorney who would defend Furtwangler in the trial was an American, right? He is seen once in the film and you can see that his job is to reveal the good in Furtwangler and have him acquitted, which he did.

While watching this, I wondered if the Major was really as maniacal and simple as the script and acting suggested here.

As it was clear from the start that Furtwängler HAD to be found guilty (regardless of evidence) and the Keitel character bullied him Gestapo-style, I don't see how anyone could NOT side with the composer...

(NOTE : That is pretty much my main problem with the film, it seems awefully one-sided. )

Looking back, he admits he might have / should have done things differently, but in the end, you can't really blame him. I don't think anyone knows what it is to live in a country like that during the nazi years (which is pretty much what the Russian general says), certainly not Major Arnold.

I am not a complete idiot. Some parts are missing.

It's a pretty abstract argument, either way. Furtwangler wasn't an active Nazi himself, and did help individual musicians escape, but became a tool of the regime through his service. Having artists like Furtwangler and Leni Riefenstahl as their cultural face granted them legitimacy. How evil could Nazi Germany be with such great artists at their disposal?

Nothing's so simple as that, of course. I don't think Furtwangler's "guilt" is anywhere near as complete as Riefenstahl's, who made propaganda films seen by millions around the world. Of course, I consider Riefenstahl (based on her writings) more of an amoral "artist" who didn't give a damn about anything but her movies, which is equally odious to my mind.

On the other hand, what was his alternative? Refuse Hitler and Goering's support and lose his job, perhaps even face arrest or persecution? It's easy to say "flee the country" with the benefit of hindsight, but abandoning one's job and country for the uncertainties of exile isn't easy. And I'd agree that painting a direct line from Furtwangler's music to Auschwitz is pretty absurd.

I'm afraid that you underestimate the number of subjects in which I take an interest!