Munich during the 1910s – a democratic, art loving, pacifistic city, the city of cabarets and carnivals. After World War I the city will change due to a certain Adolf Hitler, who arrived in town as an impoverished painter. He absorbs the bitter sentiments with the loss of the War, and is after a few years the unchallenged leader of the growing National Socialist Party. As such he will eventually hurtle Munich, Germany, Europe – the entire world – into war.
How could good old Munich foster such a person? Where in this city did Hitler intercept concepts as national socialism, antisemitism, the swastika and the theory of Lebensraum? Where in the city’s netherworld did he encounter his comrades? The mystery grows as researchers have identified Hitler on film rolls from the funeral of the Jewish revolutionary Kurt Eisner from 1919. How could Hitler carry a red armlet in February only to join the future Nazi party in October?
In Svante Nordin’s frescoe Hitler’s Munich we follow the fate of many Munich citizens between 1913 and 1945 – at the beginning mostly intellectuals such as Thomas Mann, Franziska von Reventlow, Bertolt Brecht, Victor Klemperer, but one after another they all disappear, only to be replaced by ominous namnes such as Alfred Rosenberg, Winifred Wagner, Ernst Röhm and Rudolf Hess. In the end, there remains only a few voices against them, such as Cardinal Faulhaber and the Scholl siblings.