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[music - "symphony no. 5"]

[sirens blaring]

[rumbling]

[crowd murmuring]

[footsteps running]

[knocking]

Dr. Furtwangler--
the Reich's minister.

Dr. Furtwangler, I want
to apologize personally

for this power failure.

I was so enjoying
the performance.

In times like these, we
need spiritual nourishment.

[explosions]

But I welcome this unexpected
opportunity of talking to you.

When you came to the
platform tonight,

I thought your weren't well.

You look tired.

Get away from this
bombing, away from the war.

You should go
abroad for a while.

Yes, you look tired,
even in this light.

[chanting]

Look at them-- men, women, kids.

Ha ha, boy, did they love him.

You see, Steve, Adolf Hitler
touched something real deep,

savage, and barbaric.

And it won't just go
away overnight either.

It's got to be rooted out.

You know what I, I think
they were all Nazis.

Let's face it, their
leaders, those bastards

now on trial in Nuremberg,
couldn't have done it alone.

It's these people.

They gave all the help
that was needed, willingly.

That's him.

Furtwangler--
Wilhelm Furtwangler.

So you've never heard of him.

Nope.

Do you know who
Arturo Toscanini is?

Sure.

He's as big as Toscanini,
maybe even bigger.

In this neck of the woods, he's
like Bob Hope and Betty Grable

all into one.

Jeez, and I never heard of him.

You were in insurance
before the war.

Right, claims assessor.

Conscientious,
determined, dogged.

He said I was dogged?

Well, they say here that
when you went on a case,

you stayed on it.

[chuckles]

Now, we can't take every
Nazi in this country

to trial, although
I would like to.

It's an impossibility.

So we're going for the big boys
in industry, education, law,

and culture.

Like the bandleader.

Well, he's a little more than
just a bandleader, Steve.

He's a great conductor,
a gifted artist,

but we believe that he
sold himself to the devil.

Your number one priority
from this moment

on is to connect him
to the Nazi party.

Don't be impressed by him.

I want the folks back
home to understand

why we fought this war.

Find Wilhelm Furtwangler guilty.

He represents everything
that was rotten in Germany.

Stay put, Steve.

There's some other stuff that
I'd like for you to see here--

background.

Oh, one thing that
may be a problem.

Our occupation
authorities in Wiesbaden

have a duty to help
these poor unfortunates

with their defense.

They keep repeating,
we must be just,

we must appear as being just.

Well, I only have
one thing to say

to the liberals in Wiesbaden--

fuck them.

[laughs]

You'll answer to no one but me.

Is that understood?

Show him the film.

Yes, sir.

That is the hand with a the
bombs on defenseless Rotterdam,

Brussels, Belgrade.

That is the hand that
destroyed the cities, villages,

and homes of Russia.

That is the hand that held
the whip over the Polish.

Next reel, please.

French and Norwegian slaves.

That is the hand
that took their food.

Sanitary conditions
were so appalling

that heavy equipment
had to be brought in

to speed the work
of cleaning up.

This was [inaudible], Belgium.

[moaning]

Remember men, no fraternization.

In a German town, if
you bow to a pretty girl

or pat a blond
child, you bow to all

the Hitler stood for, you
bow his reign of blood,

you caress the ideology of
men, death, and destruction.

You never know who was a
member of the Nazi party.

Don't be fooled.

Don't fraternize.

[MUSIC - "CHATTANOOGA CHOO
CHOO"]

[banging]

[thunk]

[shatter]

[clapping]

Cigarette, chewing gum?

Mister-- cigarette, chewing gum?

We're going to have the
heating fixed by tonight.

Fraulein, this is Major Arnold.

Sir, this is your secretary,
Fraulein Emmi Straube.

Her file is on your desk.

They sent her over from admin.

I leave you to it.

You live here in Berlin?

Yes.

You do shorthand and typing?

Yes.

OK, let's see here.

How long were you
in the camp for?

Three months.

It says here because
of your father.

What's that mean?

My father was one
of the officers

in a plot against Hitler.

They arrested the plotters
and their families.

And your mother too.

She's suffered longer.

She was in Ravensbr ck.

And your father was executed.

I'm going to call you Emmi.

And you're going to
call me Steve, OK?

I got a list of stuff here
I'd like you to get for me.

If you need anything,
let me know.

Major.

Steve.

There's been messages for you.

A Lieutenant David
Wills called, um, from--

from the Allied Kommandatura
of Cultural Affairs

office in Brisbane.

I don't know who he is.

And, um, there have
been three calls

from Dr. Furtwangler wanting to
know when you wish to see him.

I didn't speak to
him personally.

Think you can get
me any of that?

Oh, yes, Major.

I have recordings of
all his symphonies, Sir.

Kept them safe
during the bombing.

My favorite is the
Seventh Symphony.

Mine is the 11th.

But he only wrote nine, Major.

I'm kidding, Emmi.

What about a record player?

You have that too?

No, ours was damaged.

What's in those files?

The names of the members of the
Berlin Philharmonic Orchestra

since 1934, together
with the questionnaires.

Major, what am I to
tell Dr. Furtwangler?

You tell him nothing, Emmi.

If he calls again, you
say you know nothing.

We're going to keep him
waiting while I get acquainted

with this case and
with the witnesses

and, God help me,
with Beethoven.

[indistinct chatter]

[violin music playing]

[indistinct chatter]

[knocking]

Yeah.

Lieutenant Will's reporting
to Major Arnold, Sir.

For Christ sakes,
I hate that shit.

Cut it out.

Very sorry.

I'm so sorry.

[sighs]

I'm Steve Arnold.

What's your name?

David-- David Wills.

I'm your liaison officer
with the Allied Kommandatura

Cultural Affairs Committee, Sir.

Sounds like a lot of fun.

So they sent the big guns
to check up on me, huh?

We were recruiting children now?

I guess so, Sir.

You call me sir again, I'll
make you listen to Beethoven.

Where are you from, David?

I was born here, in Leipzig.

I escaped in '36.

My parents, they sent me to
my uncle in Philadelphia.

They were to follow,
but they delayed and--

our family name was [inaudible].

But it doesn't sound
well in English,

so my uncle changed it to Wills.

I'm sorry, Sir.

Oh, come in, Emmi.

This is your office too.

Emmi, this is
Lieutenant David Wills.

He's here to watch over us.

I guess you admire musicians.

Some.

Don't.

This is like a criminal
investigation, David.

Musicians, morticians, doctors,
lawyers, butchers, clerks--

they're all the same.

We have a duty--

a moral duty.

[MUSIC - "SYMPHONY NO.

5 IN C MINOR"]

It works.

Hallelujah.

Elder Werner.

Sit down, Werner.

I want you to understand
why you're here.

This is an investigation
into Wilhelm Furtwangler,

a former Prussian
Privy Councilor banned

from public life under Control
Council Directive Number 24,

and who's applied to come
before the tribunal for artists

of the de-nazification
commission.

I'm interested what
he was up to from 1933

to the end of the
war, understood?

Yes.

Rudolf Otto Werner,
wind section since 1936.

What instrument did you play?

First oboe.

I have your questionnaire here.

It says you were never a
member of the Nazi party.

Absolutely not.

No, I was never a Nazi.

I have no interest in politics.

I'm a musician.

Hey hey, slow down.

Fraulein Straube has to
take down what you say.

Straube-- any relation to
Colonel [? jochim ?] Straube?

My father.

It's a great honor to
meet you, Fraulein.

Your father was a great patriot.

Dr. Furtwangler is
a great musician.

He actively opposed the Nazis.

And later on, he helped
many Jews to escape.

Then how do you explain him
being made a Prussian Privy

Councilor?

That was Hermann Goering.

I was told he just made the
maestro his Privy Council,

no questions asked.

But Dr. Furtwangler stood up
to him and to Dr. Goebbels.

He also conducted for
Hitler, didn't he?

Yes, that's true.

But he refused to give the Nazi
salute in Hitler's presence.

It was a brave act.

Brave?

To celebrate Hitler's birthday
with some heroic piece

by Wagner but without
the Nazi salute.

Bravo.

It was Beethoven's Ninth.

Do you really
think it was brave?

Didn't he bowed to him
and shake his hand?

No.

No, no, I give you my word.

I never was a member of
the Nazi party, never.

I'm in the percussion section.

I play the tympani.

Anyway, they would
never have allowed it.

My brother was
married to a Jewess.

May she rest in peace.

And, uh, Goebbels
said, uh-- uh--

please take this down
carefully, because it's

most important Fraulein.

Straube.

Straube-- oh, are you by any
chance related to Colonel

[? jochim ?] Straube.

My father.

Oh, he was-- he
was a great hero.

Uh, Goebbels-- yes,
Joseph Goebbels said,

there's not a single filthy Jew
left in Germany on whose behalf

Dr. Furtwangler
has not intervened.

No, no one could have been less
of a Nazi than Dr. Furtwangler.

This was the same guy
who conducted for Adolf

on his birthday.

He was forced to do that.

But he refused to give the
Nazi salute in front of Hitler.

He kept the baton in his hand.

You can't salute with
a baton in your hand.

And what about the
Nuremberg rally?

No, we, uh-- we played on
the evening before the rally.

Oh, the evening before.

I see.

Yes, sir.

Dr. Furtwangler was
absolutely clear about this.

Politics and art must
be kept separate.

Politics and art must
be kept separate.

I'll remember that.

Um, but let me see if you're
going to help me with something

I just don't understand.

I'd really like to
know why all you

guys are so crazy about him?

What's his secret?

Well, it's hard to explain.

I can only tell from
my own experience.

Soon after I joined
the orchestra,

we rehearsed the Third Symphony
of Beethoven, the Eroica.

And there are several
rather difficult passages

for the tympani, one
particular crescendo.

During the break, I asked
him how he wanted to play it.

He was studying his score.

He didn't look up.

He said, just watch me.

And so, of course, I did.

I never stopped watching him.

The moment came, and
suddenly he turned to me.

And our eyes were locked.

And there was
something in his look

that simply demanded
the crescendo.

I shall never forget this look.

It was a moment of--

of magic.

You ever seen
Adolf Hitler's eyes

when he was making a speech?

I've seen him on films.

Yes.

Was looking at
Furtwangler like that?

I don't know what
you mean, Major.

When you got to the crescendo.

You think a whole orchestra, 120
so guys could be orchestrated.

Yes, it's possible.

So what does the Russki want?

Colonal Dymshitz asks
specially to see you.

Dymshitz?

I'm talking now with
General [inaudible],,

who is in charge of
the French sector.

[indistinct chatter]

(WHISPERING) What the
hell are they doing?

They're trying to sort out
some of the works of art

the Nazis stole from
occupied territories.

Who really owns what?

That-- that's Colonel
Dymshitz on the far side.

Art historian, head of the
famous Leningrad Museum of Art.

He's an expert on
German culture.

[speaking french]

Henry, what did he say?

He's saying that picture
is the property of France.

[speaking french]

I know who Georges Braque is.

I know, Captain.

We can produce the
provenance of his Braque.

You say provenance?

Hello, Major.

[inaudible] Dymshitz.

Colonel, good to see you.

Pleasure.

So Major, tell me, have you
questioned Dr. Furtwangler.

Not yet.

I had two meetings with him.

He's great musician, maybe
the greatest conductor

in the world.

His Brahms,
Beethoven, Schubert--

unequal.

I'll come straight to the point.

I offer him very attractive
position, conductor of

[inaudible].

And he refused.

But I want him.

I want him badly.

And I want your help.

Now, just a moment.

Uh, you should have
discussed this with me first.

I'll discuss it with you now.

Major, I'll allow you to
drop your investigation,

save everybody time and trouble.

We can't just drop a
case just like that.

I'll give you another conductor
in exchange, writers, musicians

next.

What-- what do you care?

But I like Furtwangler.

He's my favorite conductor.

Mine and Hitler, he's
our favorite conductor.

[indistinct chatter]

I click my heels and I
bow at the same time.

[click]

[giggling]

That's because you had
a proper upbringing.

That's right.

I was raised very strictly.

We were very German.

So don't speak
before you spoken to.

Oh, and don't wave
your hands about.

Respect your elders
and your betters.

And no elbows on the table.

Eating is eating.

And--

Talking is talking.

Well, I think we better get on.

[clears throat]

Right, so this is going
to be very formal too now.

Lieutenant David Wills
requests the pleasure

of the company of Fraulein
Emmi Straube at dinner,

any night she cares.

[snickering]

David, I need to
ask you something.

Have you heard this rumor
the British found something

called the Hinkel Archive?

Yes.

So what is it?

Uh, the British
occupied the building

where this guy, uh, Hinkel--

Hans Hinkel ran a Nazi
ministry of culture.

And it seems they've
discovered a secret archive.

What's that mean?

I don't know.

But the British are
very excited about it.

I know that.

The rumor is that Hinkel kept
a file on every artist working

in the Third Reich.

Jeez, and you think the
British will share it

with their allies?

Major Richards said he
called to let us know.

Well, that's big of him.

OK, better question
the next witness.

I'll bet you a bottle
of French champagne

he tells us the baton
story inside 10 minutes.

Five minutes.

It's a bet.

You're the witness, Emmi.

Helmut Alfred Rode, second
violinist since 1935.

What does it mean,
second violinist?

It means I wasn't good enough
to be a first violinist.

Good.

And according to your
questionnaire, Helmut,

you never joined the Nazi party.

Me, never.

Never, I-- I know everyone else
says they were never Nazis,

but in my case, it is
absolutely, 100% true.

I'm a Catholic.

It would have been totally
against my conscience.

Is it true you're
going to interview

Dr. Furtwangler today?

I'll ask the questions, Helmut.

Excuse me.

Did you know that he refused
to give the Nazi salute when

Hitler was present
in the audience?

The-- the problem
was, how could he

avoid giving the devil salute
when Satan was actually

sitting there?

And I said, Dr.
Furtwangler, why not

enter with a baton
in your right hand.

Hitler will be sitting
in the front row.

And if you give the salute with
a baton in your right hand,

it'll look like you're
going to poke his eyes out.

[chuckles]

He was-- he was really
grateful to me for that.

After the concert, I--

I stole that baton as a memento
of a great act of courage.

I still have it.

I should have brought
it to show you.

I hope I'm not going too
fast for you, Fraulein, uh--

Straube.

Straube-- any relation to
Colonel [? jochim ?] Straube?

My father.

I'm deeply honored to be in
your presence, Fraulein Straube.

Your father was a true
patriot, a man of God.

You have a question
for Helmut, David.

Uh, yes, what was the
orchestra's reaction

when they asked you to play
it for Hitler's birthday?

We didn't play for his birthday.

We played the evening before.

It was the 19th of
April, not the 20th.

Do you know Hans Hinkel?

Do I know Hans Hinkel?

That's what I asked.

Do I know Hans Hinkel?

You seem to understand
the question.

Now, how about answering it.

Hans Hinkel was in the
Ministry of Culture.

How could I know such a man?

I hear the-- the British
have his archive--

records and files.

Do you know what's
in this archive?

How could I know
what's in the archive?

OK, you can go, Helmut.

Get out.

[MUSIC - "SYMPHONY NO.

5 IN C MINOR]

[speaking german]

Furtwangler.

Major-- Major, he's here.

Shut the door, Emmi.

Sit down.

We're going to keep him waiting.

Emmi, get us some
coffee, will you?

Don't offer him coffee.

Don't even greet him.

[whistling]

Fraulein--

[door closes]

Fraulein, how long am
I to be kept waiting?

OK, Emmi, go get him.

Dr. Furtwangler.

I didn't hear anyone
invite you to sit down.

Sit there.

I want you to understand
why you're here.

You're automatically
banned from public life

under Controlled Council
Directive Number 24.

We're here to look
into your case

before you appear in front
of the tribunal for artists

of the de-nazification
commission.

Do you understand that?

I've already been cleared
by de-nazification tribunal

in Austria.

What they do in
Austria it doesn't

interest me one little bit, OK?

I have your questionnaire here.

Gustav Heinrich Ernst
Martin Wilhelm Furtwangler,

born Berlin, January 1886,
orchestral conductor.

And you say here you were never
a member of the Nazi party.

Yes, that is correct.

Could you tell us about
being made a Prussian Privy

Councilor?

How did that happen
to a non-party member?

I received a telegram from
Hermann Goering informing me

that he had made me
a privy councilor.

I wasn't giving the opportunity
either to accept or refuse.

And after the-- the dreadful
events of November 1938,

the violent attacks
on the Jews, I--

I stopped using the title.

What about Vice President
of the Chamber of Music.

You used that title, didn't you?

But then, I suppose you
had no choice there either,

because I suppose
that the Goebbels just

sent you a telegram saying,
Dear, Mr. Vice President.

I don't think Dr. Goebbels
sent me a telegram.

I was simply told in
a letter, I believe.

I don't remember exactly.

Hell, Goebbels and Goering were
sure heaping honors on you.

One makes you a privy
councilor, the other

makes you Vice President
of the Chamber of Music.

And you weren't even
a member of the party.

How do you explain that?

Well, there was
a constant battle

between Goering and Goebbels,
as to which of them would

control German culture.

And I was simply a pawn.

Anyway, I resigned from
[inaudible] at the same time

I resigned as musical director
of the Berlin Philharmonic

Orchestra in 1934.

Why was that?

Why did you resign,
Dr. Furtwangler?

I wrote an open letter
to the newspapers

condemning what they
were doing to music,

making these distinctions
between Jews and non-Jews.

For my part, the only
divide in artists

is between good and bad.

Eventually, Goebbels
summoned me and told me

I could leave the
country if I wanted to.

But under no condition would
I ever be allowed to return.

I've always believed that you
have to fight from the inside,

not from without.

I asked myself, what is
the duty of an artist,

to stay or to leave?

And then Goebbels
demanded that I

acknowledge Hitler
as solely responsible

for cultural policy.

Well, that was a fact.

Seemed pointless to deny.

I simply acknowledge that Hitler
and the Minister of Culture

appointed by him were
solely responsible

for the cultural
policy of the Reich.

What I wanted to express
was that I, personally,

had no responsibility whatsoever
for their cultural policy.

I've always held the view that
art and politics should have

nothing to do with each other.

Then why did you conduct at
one of their Nuremberg rallies?

I-- I did not conduct
at-- at the rally.

I conducted on the
evening before the rally.

[scoffs]

That sounds like the small
print in one of our insurance

policies, Wilhelm.

And what about April 19,
1942, the eve of Hitler's

53rd birthday, the
big celebration?

You conducted for
Hitler, didn't you?

Was that in keeping
with your view

that art and politics have
nothing to do with each other?

But that-- that was
a different matter.

I was tricked.

How come?

Could I have a glass
of water, please?

Please, Fraulein--

Straube.

Thank you.

Thank you.

I was in Vienna rehearsing the
Ninth Symphony of Beethoven

when Goebbels called and
said I had to conduct

at Hitler's birthday.

I'd always managed to wriggle
out of such invitations

by pleading previous
engagements, illness, having

my doctors state I was not
well, and so on, and so on.

I was also fortunate that
[inaudible] [? von shaeback, ?]

who controlled Vienna,
hated Dr. Goebbels

and would do anything
to thwart his wishes.

But this time Goebbels got
to my doctors before me.

And they were frightened off.

[? von shaeback ?] was
threatened, bullied,

and gave in.

So I had no alternative
but to conduct for Hitler.

Believe me, I--

I knew I had compromised.

And I deeply regret it.

Doesn't sound like
much of a trick to me.

Sounds like you made a deal.

I made no deal.

I don't buy that.

It's the truth.

I keep hearing you helped
a lot of Jews to escape.

How did you do that?

I don't remember in detail.

There were so many.

Did you call someone you knew?

Oh, I may have.

As I said, I simply
don't remember.

Let me help you.

You picked up the
phone and made a call.

Hello, Adolph, Wilhelm speaking.

Listen, old pal, there's
a Jew boy musician

I'd like you to help.

He needs a permit
to get to Paris.

Or maybe you call,
Goebbels or Goering.

You were so close.

You were in the same
shithouse as them.

May I ask you a question?

Sure.

When will my case be
heard by the tribunal?

Your guess is as good as mine.

I need to work.

I need to make my living.

I live off the
generosity of friends.

Tough.

Tough!

Then why is it, please, that
another conductor, who actually

was a member of the party, who
used to play the [inaudible]

before his concerts,
has already been cleared

and he's working again, while I
have to wait and wait and wait?

I don't know.

It wasn't my case?

Why did you escape
to Switzerland

just before the war ended?

What?

Why did you escape
to Switzerland

just before the war ended?

It was because I learned
that the Gestapo was

about to arrest me.

Why were they going
to arrest you?

I believe it was because
of another letter

I'd written to
Goebbels, lamenting

the decline of musical standards
due to racial policies.

You didn't complain about the
racial policies, just about

the musical standards?

Is that right?

So how did you learn that the
Gestapo was out to get you?

During an enforced
hour-long interval

because of a power failure
at a concert here in Berlin.

Albert Speer, the Minister
of Parliament said to me,

you look very tired,
Mr. Furtwangler.

You should go
abroad for a while.

I knew exactly what he meant.

You sure knew a lot of
people in high places.

[sighs]

Well, it would be true to say
I think that a lot of people

in high places knew me.

You were real close
to all of them--

to Adolf, to Hermann, to Josef,
to Baldur, and now Albert.

So let's hear the
truth, Wilhelm.

Let's come clean.

What was your party number?

[scoffs]

If you're going to bully
me like this, Major,

you better do your homework.

You obviously have no idea
how impertinent and stupid

your questions are.

[chuckles]

David, you remember, I said
I had a question for Wilhelm

that he wouldn't
be able to answer.

Well, I'm going to ask it now.

You ready for this, Wilhelm?

It's a tough one.

Why didn't you get
out right at the start

when Hitler came
to power in '33?

Why didn't you leave Germany?

I have a list of names, people
in your profession who got out

in '33--

Bruno Walter, Otto
Klemperer, Arnold Schoenberg,

Max Reinhardt.

They were Jews.

They had to leave.

They were right to leave.

I could not leave my country
in the deepest misery.

After all, I am German.

I-- I-- I stayed in my homeland.

Is that my sin in your eyes?

See, David, he can't
answer the question.

I'm going to ask
it again, Wilhelm.

But don't give me
any more airy-fairy

intellectual bullshit.

[phone rings]

Major Arnold's office.

Yes, he is.

It's Major Richards for
Lieutenant David Wills.

David Wills.

Yes, sir.

What, you want me to tell him?

OK, uh, Major Richards
wants a word with you, Sir.

Why can't he just ask for me?

Why does he have to
ask for you first?

God damn British, so correct.

Steve Arnold.

Huh?

I've had enough of this.

I'm leaving.

Dr. Furtwangler.

Dr. Furtwangler,
please-- please.

Don't.

It's not advisable.

When I was a child, my
father, he took me to--

took me to one of your concerts.

I remember you conducted
Beethoven's Fifth Symphony.

I was deeply moved.

And I've loved music ever since.

I was grateful to you
and I've admired you.

How could you-- how could
you serve those criminals?

How many?

Jesus, that's dynamite.

OK.

Dr. Furtwangler.

Well now, aren't
we all sociable?

I've got to hand it
to the British, David.

You know what those guys are?

Decent.

Tell me here, Dr. Furtwangler,
you know Hans Hinkel.

I know of him.

Despicable human being.

He was in the
Ministry of Culture.

His job was to get rid
of Jews in the yards.

Yep, that's him.

That's the guy.

You know what else
the little creep did?

He kept files-- close
to 250,000 files.

And you know what's
in those files?

Certainly not, but I--

I knew he had
informers everywhere,

even in my orchestra
there was someone.

Who?

I wasn't told.

I just knew.

How?

I was warned.

Who warned you?

Goering, because Hinkel
was working for Goebbels.

What did Goering say?

He told me to be careful
as one of Goebbels' men

was watching me.

He read a report on me.

Everything I said was
quoted word by word.

[laughing]

Oh, boy, you're
going to love this.

Take your time with this now.

Those files contain the
details of every working

artist in this country.

Those files are going to tell
us who joined the party, who

informed, and who was helpful.

Your name, please?

David Wills, sir.

Over there.

Fantastic.

Only condition is we
have to do the work here.

I want you to collect all the
files on the boys in the band.

[pigeons cooing]

Maybe you can have
a look at this.

[whispering]

[music - string quintet in c]

[rain pattering]

[cheering]

Dr. Furtwangler, moving,
[inaudible] you agree.

[inaudible] Schubert.

I am more.

You agree?

The tempi were a little
too correct for my taste.

But I expect that is--

that's because of the rain.

Uh, Doctor, uh, I understand
you have difficulties

with the Americans.

I want you to know
I am your champion.

We can help.

What does he mean too correct?

I don't know.

[music - "route 66"] Go through
St. Louie, Joplin, Missouri,

and Oklahoma City is mighty
pretty, you see Amarillo,

Gallup, New Mexico, Flagstaff,
Arizona, don't forget Winona,

Kingman, Barstow,
San Bernandido,

won't you get hip
to this timely tip.

When you make that
California trip,

Get your kicks on Route 66.

Go through St. Louie, Joplin,
Missouri, and Oklahoma

City is mighty pretty, see
Amarillo, Gallup, New Mexico,

Flagstaff, Arizona, don't forget
Winona, Kingman, Barstow, San

Bernandido, won't you get
hip to this timely trip.

When you make that
California trip.

Get your kicks on Route 66.

[applause]

[music playing]

[indistinct chatter]

Thanks.

Well, what is this,
the office party?

May I join you?

So what have you two
been up to tonight?

Hey, don't I owe you a
bottle of French champagne?

[laughs]

You know, David,
you're a lucky guy.

I invited Emmi here,
but she turned me down.

You must have
hidden depth, David.

[music - "route 66"]

Come on, Emmi, let's dance.

I'll teach you how to jive.

I'm very sorry, Major.

But I promised her
mother, we have to go.

[music - "route 66"]

(SINGING) Get your
kicks on Route 66.

[inaudible] from Chicago to LA.

More than 2,000
miles all the way,

get your kicks on route 66.

Don't see me to my door.

There's no need.

But I promised your mother.

Well.

Sleep well.

Excuse me, Major.

I found this on Helmut Rode, you
remember, the second violinist.

Look, he's Austrian not German.

But it's this that's
more important, I think.

[whistles]

Psst.

David Wills, telephone.

What is this, a railway station?

David Wills, hello?

Uh-- uh, who-- who in his band?

Major.

Helmut.

Guess what I'm
holding in my hand?

You like guessing games?

Love them.

I give up.

What are you holding
in your hand?

It's, uh, Dr. Furtwangler's
baton which I--

which I stole.

The one he kept
in his right hand?

Yes, yes, you remember.

How could I forget?

Show me.

Show you?

Yeah, show me.

I want to see you do it.

Pretend I'm Adolf.

You're the maestro.

And you have the baton
in your right hand,

but you give me the
salute just the same.

Not here, Major.

There are people--

Do it, Helmut.

--which will see.

Please-- please, Major.

Do it right.

You look great doing that.

And I see what you mean.

You nearly poked my eye out.

Exactly.

Don't worry, Helmut.

It'll be our secret.

Mister, mister, here.

Here, mister.

[laughs]

Great catch kid.

So you wanted to see me?

You usually don't
work on Sunday, Major.

All in the cause of
humanity, Helmut.

Or should I call you 10493310.

What?

10493310-- Or do you mind
if I just call you One?

[sighs]

You know what I say
you are, Helmut?

I say you're a piece of shit.

[retching]

That bastard.

Who's the bastard, Helmut?

Hinkel?

Why?

He promised to remove your file.

And what about before that?

What were you a
member of in Austria?

I was a member of--

Speak up.

I was a member of
the Communist party.

I was a communist.

That's-- that's what
Hinkel had over me.

He knew everything.

He held it over me.

And that's how he
met me corporate.

Oh, I see.

He made you cooperate.

And now are you a
communist again?

You don't know what it's like
to wake up every single morning

of your life terrified!

You don't know that!

I would never, in
my wildest dream,

ever become a second violinist
in the Berlin Philharmonic.

[sighs]

When they-- when they got rid
of the Jews in the orchestra,

it gave people like me a chance.

Helmut, you ever heard
of plea bargaining?

Talk about power.

I have the power to give you
work and make your life easier.

Your past won't be mentioned.

I could give you a job tomorrow.

But I have to get
something in return.

See, Helmut, that's
plea bargaining.

I could give you a freedom
of movement, freedom to work,

freedom, Helmut.

But I need something in return.

Major, we are discussing
a man of genius.

Fuck that, Helmut.

You want to discuss
symbols here.

This guy was a front man.

He was the Piper, but
he played there too.

Do you get my
philosophical meaning?

I'm not after small fish,
I'm after Moby Dick.

Come on, Helmut, hard facts.

Well, the only thing I know
is he's an anti-Semite.

Of course.

You too, like everyone else
in this goddamn country.

I remember something else.

Yeah?

Furtwangler sent Hitler a
telegram for his birthday.

He did?

One of your people told me.

One of my people?

Yes, a corporal, US Army, a Jew.

He said he'd seen the
telegram in the chancellery.

Son of a gun.

We'll find the corporal.

We'll find the telegram.

But I need documentary proof.

You know of anything like that?

No, but that's why we hated him.

We admired him as a
conductor, but we all

hated him because he didn't
have to join the party

and yet he had a better
life than any of us.

He didn't have to go and deliver
a report after every trip

abroad.

He got everything from them--

everything.

He was filthier than
any of us party members.

There's a rumor-- I don't
know if it's true or not,

but ask him about von der N ll.

I've never heard of him.

Who is he?

Edwin von der
N ll, music critic.

He gave Furtwangler
terrible reviews

while he raved about
Herbert von Karajan.

Who's he?

Also a conductor, very,
very brilliant, young.

von der N ll called him
the "Miracle von Karajan."

And Furtwangler was
outraged and they say,

he had von der N ll
conscripted into the army.

Same thing happened
to another critic.

Well, true or not, it's
not such a bad idea.

Critics give you bad
reviews and you have

them sent to the Russian front.

But if you really want
to get Furtwangler,

ask him about
Herbert von Karajan.

The miracle kid.

Yes.

Yes, you may notice that he
cannot even bring himself

to utter his name.

He refers to him as K. And, um,
ask him about his private life.

His private life?

Yes.

It's all in here, his women.

And who gave you the assignment
to gather the information

about his private life?

Hinkel?

[bell ringing]

Where do you stand on all this?

On all what?

On Furtwangler.

I don't know.

You represent the United
States of America now.

We have a moral duty to be just.

And we have to be
seen to be just.

Major Arnold believes
he has a moral duty too.

Our duty is to help
Furtwangler with his defense.

That's why I want
you to look at this.

These are part of
the transcripts

of the trial of Nuremberg.

We can't get it
translated fast enough,

but I guess you
understand German, right?

Mm-hmm.

That's the evidence of
a guy named Delaris.

He's a Swede, friend
of Hermann Goering.

I want you to study it.

And I want you to use it.

We're going to find some other
stuff to supply you with.

We have other suggestions.

We need to build up a
case for the defense based

not on feelings, not on
prejudice, but on facts.

[indistinct chatter]

Lieutenant Wills.

[inaudible] cello,
Schmidt, viola.

They are willing to help.

We have already ordered
ourselves coffee.

[inaudible]

Of course.

The whole orchestra
will vouch for him.

He was always there
to support us.

We need names, if possible with
addresses, because it's urgent.

And names of musicians saved
by Dr. Furtwangler, people

he helped to escape abroad.

Let's go somewhere less public.

[glasses clink]

I was in Vienna.

I had with me an
Austrian chauffeur.

He spent time in the camps.

And we were looking
at these Viennese

cleaning up the bomb damage,
scavenging for rotting food,

butt ends, anything.

I said, to think, a
million of these people

came out to welcome Adolf on
the day he entered the city--

a million of them.

Now look at them.

And Mac said, oh, no,
not these people, Major.

These people were all at home
hiding Jews in their attic.

Ah, you get the point, Colonel.

[groans]

The point is they're
all full of shit.

Furtwangler is in a
different category.

We're dealing with
the degenerates here.

Degenerate--

[laughing]

[inaudible]

That's why he didn't get out
of here when he had the chance.

I put that to him.

He couldn't answer.

Why did he go and
direct in America,

like that Italian Toscanini?

Huh, perhaps he believed
they could at least

try to preserve something
important things,

like an orchestra, a school.

[inaudible] maybe he has a
mother who can't be left alone.

Maybe he has brothers, sisters--

Colonel, he had no
sisters, no brothers,

only a lot of love affairs.

Anyway, Major,
why-- why he should

leave his country, his
mother tongue, his family,

his history, his past, his
future, just because now

suddenly there is
a dictatorship?

Why?

But what-- before
that turns rotten,

what if they surround the space
with barbed wire, Colonel?

Don't talk about things
you know nothing about.

He was in a dictatorship.

Art and politics, right?

I heard about that.

[inaudible] belong to the party.

If you want to be a conductor,
you have to have an orchestra.

And you can only
get the orchestra

if you have contact
with the power.

All the-- all the world,
you need the right contacts

and you have to
make compromises.

This is what I'm saying.

He must have had party contacts.

Ah, there are good
party members who help.

And there are dirty non-party
members who inform you.

Of course they gave
him privileges.

And suddenly-- Steve, suddenly
you notice they like you.

They honor you.

And suddenly, you're the
director of the best museum

in the world, for example.

What museum?

[inaudible] museum.

Ah, not-- I say
orchestra, sorry.

Believe me, Steve.

Help me, Steve.

You say you answer for
someone from high up.

I too ordered it from high up--

very high up.

We want Furtwangler.

I'll give you in the return
the whole orchestra--

four, five conductors.

I need him, Steve.

No can do.

Let Furtwangler go, please.

I have a duty.

Duty!

I'm sorry.

Duty, duty-- fucking duty.

American want everybody
to live like you!

We liberated Berlin,
Major Steve, not you!

Oh.

They have duty
also to bring back

the best of German culture!

I'm going to get that
fucking band leader.

No deal!

No fucking deal.

Then you are going to kill me.

[film reel rattling]

You'll see ruins.

You'll see flowers.

You'll see some
mighty pretty scenery.

Don't let it fool you.

You are in enemy country.

The Nazi party may be gone, the
Nazi thinking, Nazi training,

and Nazi trickery remain.

Somewhere in this
Germany, there are

two million ex-Nazi officials.

out of power but still
in there, and thinking,

thinking about next time.

Remember that only
yesterday, every business,

every profession was
part of Hitler's system.

Practically every German was
part of the Nazi network.

[chanting]

They believed they were
born to be masters.

Don't argue with them.

You're not being sent
into Germany as educators.

You are soldiers on guard.

You will observe
their local laws,

respect their
customs and religion,

and you will respect
their property rights.

You will not be friendly.

You will be aloof,
watchful, and suspicious.

[indistinct chatter]

[speaking german]

[indistinct chatter]

[bicycle bell ringing]

Yesterday, I read
that Furtwangler

was asked to lead the New
York Philharmonic back in '36.

Toscanini suggested it.

Had he accepted, he
would have become

the-- the most celebrated
conductor in America.

When he made his
decision, he couldn't

have known everything,
especially not the way people

like you do.

[inaudible] return from exile
and feel that you have a right

to pass judgment because
you are blameless,

you think you know
best who's a sinner

and who deserves
forgiveness, but you have

no idea how people lived here.

When he met Hitler
at his birthday,

he shook hands with him.

Was he pleased?

I don't know.

But you and I already know
that he has saved lives.

Emmi, this Bruckner
Seventh, do you

know where the adagio begins?

Of course.

Put it on ready to play and
I'll tell you when to play.

Mm-hmm.

It's now 9 o'clock precisely.

I do not intend to be
kept waiting again.

Don't talk to me like I
was a second violinist.

Go back in the waiting room.

Miss Straube will come and get
you when I am ready to see you.

Jesus, God.

Who the hell does
he think he is?

Who the hell does
he think he is?

Would you perhaps like to have
a glass of water, Officer?

What is this man doing here?

Dr. Furtwangler, come in.

Come in.

Sit down.

No, no.

Take think this one.

It's more comfortable.

If it's too hot.

Open your tie.

I wish to say something.

Go ahead.

Be my guest.

When I last saw you,
I was unprepared.

I did not know what to expect.

But in these past weeks, I've
been thinking more carefully

and making some notes.

You have to understand
who I am and what I am.

I am a musician, and
I believe in music.

I'm an artist, and
I believe in art.

Art in general, and
music in particular,

has for me mystical powers which
nurture man's spiritual needs.

I must confess, however,
to being extremely naive.

I insisted for many years
on the absolute separation

of art and politics.

My entire life was devoted
to music, because--

and this is very important--

because I thought that I
could, through music, do

something practical.

And what was that?

To maintain liberty,
humanity, and justice.

Gee, that's a thing of beauty.

Honest to god, a
real thing of beauty.

I'm going to try
to remember that.

Liberty, humanity, and justice.

Beautiful.

But you use the
word naive, are you

now saying that you
think you were wrong,

that art and politics
can't be separated?

No, I believe art and
politics should be separated

but that they weren't
kept separate.

I learned to my [inaudible].

And when did you
first learn that,

when you sent the telegram?

Was that the surrender signal,
the waving of the white flag?

What telegram?

Happy birthday, dear Adolf,
love Wilhelm or words

to that effect.

That sounds to me like you
were dropping on your knees

and saying, OK, Adolf, you win.

You're the number one man.

Have a swell party.

I have no idea what
you're talking about.

The birthday greetings you sent
to your old pal Adolf Hitler.

I never sent him in
birthday greetings

or any other kind of greetings.

Oh, think carefully, Wilhelm.

Maybe not in your own name,
but as Privy Councilor

or Vice President.

I don't have to think carefully.

This is utterly ridiculous.

[clears throat]

Yes, David.

Why not show Dr.
Furtwangler the evidence?

It may refresh his memory.

You won't find it, because
no such telegram exists.

Well, I tried.

You've got to admit, I tried.

I thought I just might
trap you there, Wilhelm.

But David hear was
too quick for me.

Smart move, David.

Smart move.

No, I don't have a telegram,
but I know it exists.

And I want you to
know, Wilhelm, we're

going to keep looking for it,
because I believe you sent it.

Well then, you're wrong.

Art and politics,
art and politics.

Let's take a look at that.

You in the Berlin Philharmonic
toward the Third Reich

played in countries the
Nazis had conquered.

Are you saying that conducting
in occupied territories

from 1939 on wasn't a commercial
for Adolf and all he stood for?

No we never, never officially
represented the regime

when we played abroad.

We always performed
as a private ensemble.

I think I already told you that
I was a freelance conductor.

You know something, you should
have written our insurance

policies for us, because
you've got more exclusion

clauses than double indemnity.

What do you imagine
people thought?

The Berlin Philharmonic's
taking over

by Dr. Goebbels and the
propaganda ministry,

but Wilhelm's a freelance,
so art and politics are now

entirely separate.

Is that what you believed
ordinary people thought?

I have no idea what
ordinary people thought.

No.

No, because I had
only one intention.

My only intention,
whatever I did,

was to-- to show that music
means more than politics.

Tell me about von der N ll.

Von der N ll.

Yes, von der N ll.

Von der N ll?

How long is this going
to go on, Wilhelm?

I say von der N ll,
you say von der N ll.

I say von der N ll,
you say von der N ll.

We could go on all day.

You know who von der
N ll is, don't you?

Edwin von der
N ll, music critic.

Yes, I know who he is.

Isn't it true that because
he gave you bad reviews

and praised this young
guy, von Karajan,

called him a goddamn miracle,
said he was a better conductor

than you, that you had von der
N ll conscripted into the army

and no one's heard
from him since?

That's an outrageous lie.

You sure you to call one of
your close buddies and say,

god in heaven, did
you see with that guy,

von der N ll wrote about me,
the greatest conductor on Earth?

I want him out of the way.

He.

Had the nerve to
accuse me of not

playing enough modern music.

Send him to Stalingrad.

Isn't that what you did?

You don't like criticism,
do you, Wilhelm?

You certainly didn't
like him saying

there was another
conducted better than you.

Are you seeing the name von
der N ll was never mentioned

in your talks with Goebbels?

Well, once he-- he
said he-- he had read

what this man wrote about me.

What did he say?

Well, he said, don't mind him.

His job is to criticize.

Your job is to conduct.

And what happened
to von der N ll.

I have no idea.

You really have no idea?

I'll tell you what happened.

He died in Stalingrad.

Well, I'm sorry.

Now, that young conductor--
what's his name?

That miracle kid, you know
who I mean, von Karajan.

But you called him
something else.

Come on, what did
you call von Karajan?

Say it.

I'll say it then.

Little K, is that right?

You couldn't even
bear to say his name.

Please, stop playing
these games with me.

Why you should bring
up the name of--

why you should bring up the
name of another conductor

is beyond my understanding.

I'll tell you why.

You remember, we
talked about you

playing for Hitler's birthday.

And you told me that
Goebbels got to your doctors

first, that you were tricked.

Yes, that's what happened.

I have a different
story to tell.

I don't think you were tricked,
not in the way you described.

I believe something
else happened.

I've seen the Hinkel archive.

I've seen records
of phone calls.

And putting it all together,
this is what I think happened.

I think Goebbels said, Wilhelm,
if you won't conduct for Adolf,

we'll get the miracle kid, the
guy that critic von der N ll

thinks is the greatest
conductor in the world.

He's not just willing
to conduct for Adolf,

he's offered to sing
Happy Birthday as a solo.

Come on, admit it.

K worried you, didn't he?

He always worried you.

In 1942, he's 34 years old.

You're already 56.

And Goebbels and Goering keep
saying, if you won't do it,

little K will.

Never mind art and politics,
and airy fairy bullshit

about liberty, humanity,
and justice, because I

don't care how
great you are, it's

the oldest story in the book.

The aging Romeo jealous
of the young buck.

The real reason you
didn't leave the country

when you knew you should have
was that you were frightened.

You were frightened that
once you were out of the way,

you'd be supplanted by the
miracle kid, the party's boy

twice over--

flashy, talented, Little K.

This is absolute nonsense.

Well, I'm just beginning
to develop my theme.

Isn't that what you call
it in classical music,

developing a theme?

OK, Wilhelm, so they
play to your insecurity.

That's human, understandable.

But there's one guy who
doesn't like Little K

as much as he likes you.

Yeah, the number one
man, your old pal Adolf.

He thinks you're the greatest.

And when he says, I want
Wilhelm for my birthday,

boy, they better go
out and get Wilhelm.

So Joseph calls and
threatens you with Little K.

And you said to hell
with the night in Vienna,

I'll give it to Adolf as a
birthday present in Berlin.

That's the trick they played.

They got you by the balls
and they squeezed hard.

Why did you stay?

Why did you play for them?

Why were you the flag
carrier for their regime?

Jealousy.

Of course, there was a
conspiracy against me,

a campaign, even abroad.

You see, Wilhelm, I'm talking
about ordinary, everyday

reasons, which is why I want
to discuss your private life.

How many illegitimate
children do you have?

Major, I don't see how
this line of questioning

could have possibly
anything to do with--

Hey, David!

What are you, counsel
for the defense now?

Did you hear the question?

I have illegitimate children.

What?

I said, I-- I have
illegitimate children.

I don't know how many.

You like the women,
don't you, Wilhelm?

Isn't it true that
before every concert

you've got a woman
in your dressing room

and gave her the old
conductor's baton?

Isn't that true?

Major, this is deeply
offensive and repugnant.

You bet.

And totally irrelevant!

Not so Councilor, that's
secretary of yours,

she wasn't just your secretary.

She procured women for you.

Didn't she?

As many in as often
as you wanted.

Stop this.

Please, please stop this now.

No, I'm not going to stop.

Hitler himself offered
you a beautiful house

and a personal bomb shelter.

I absolutely refused the
house in the bomb shelter.

But you see what I'm getting at.

You get a gorgeous house,
you're highly paid,

what are you going
to do, stay or leave?

One voice comes back at me.

Stay.

Major, that's not
a good argument.

If Dr. Furtwangler
indeed did enjoyed

all these-- these privileges,
he enjoyed him of who he is

and what he is.

That's true of
any leading artist

in any country in the world.

But it still doesn't
make them safe.

They've still got to get
up and piss in the middle

of the night, don't they?

They can still be
vindictive and envious

and mean, just like you and me!

Well, just like me.

Can't they?

OK, Wilhelm, go home now.

Go home and think about
these past 12 years.

I don't understand
what you mean.

No, that's your
problem, Wilhelm.

You understand nothing.

We'll call you.

Go.

[sighs]

Major.

What?

Your manner--

My manner?

Why don't you go downstairs, get
a cup of coffee, and calm down.

Now, sir.

What's the matter, Emmi.

What's going on with you.

What's wrong?

I'm sorry, but I have to leave.

I [inaudible].

You have to get someone
else [inaudible]..

What is this, Emmi?

I can't do this.

It's not right.

What's not right?

I've been questioning if I could
[inaudible] just like that--

just like-- just like
you question him.

Emmi, stop.

I want to show you something.

Let me show you something.

And then if you want to
leave, you can leave, please.

Please.

His friends, they did this.

And he gave them
birthday concerts.

But he had no idea.

A lot of people had no idea.

I-- I only realized
what was really

going on when I got arrested.

If he had no idea, why
did the Jews need saving?

This is my question,
Emmi, to all Germans.

Why did the Jews need
saving in this country?

Why?

The people had no idea.

I would like to go now, please.

[door slams]

[music - "embraceable you"]

(SINGING) I love all the
many charms about you.

Above all, I want
my arms around you.

Don't be a naughty baby.

Can I ask you a favor, Major?

Yeah.

When you question
him again, could you

treat him with more respect?

With more what?

More what?

Major, he may just be the--

the greatest conductor
of this century.

And that merits respect.

David, I don't understand
a thing about you.

You're a Jew.

Are you a Jew?

Yes, I am a Jew.

But I like to think
first, I'm a human being.

A human being, oh, good.

I'm relieved.

I thought you were going to
say you were a music lover.

This man-- this great
artist has made anti-Semitic

remarks like you
wouldn't believe.

I got letters.

Major, show me
somebody who hasn't

made anti-Semitic remarks and I
show you the gates of paradise.

What is it with you?

Where are your feelings, David?

Where's your hatred,
your-- your disgust?

Where's your fucking
outrage, David?

Think of your parents
and then think

of him conducting (SINGING)
happy birthday, dear Adolf.

I'm mean.

Christ's sake, whose
side are you on?

Grow up.

Just grow the fuck up.

I want you to come
back to the office.

May I come in?

If you're there, you can
influence what happens.

What good can you do by leaving?

If you go, you're giving up.

And how can you help
Furtwangler, hmm?

Don't think about leaving.

Stay.

Everybody says what
a great benefactor

you were to the Jews.

But I have things here
you said and wrote.

Listen to this.

"The Jew composer
Schoenberg is admired

by the Jewish International."

And what about this?

"Jewish musicians lack a genuine
affinity with our music."

"Jewish musicians are good
businessmen, with few scruples,

lacking roots."

You deny you said these things?

Those attitudes do
not exist in me.

I believe that.

But just answer the questions.

Don't give me explanations.

I was speaking to party members.

I-- I used the language.

Of course I did.

Everyone did.

But it's not me.

Then who is it?

Who was speaking?

Uh, Major, sorry to interrupt,
but maybe we have to--

maybe we have to balance those
things against this assistance

to his Jewish colleagues.

This is, uh-- this is a
transcript from the proceedings

at Nuremberg.

A. Swedish businessman,
Birger Dahlerus,

testified in cross-examination
that he had several meetings

with Hermann Goering.

"I First saw Goering,"
Dahlerus testified,

"embroiled in a stormy interview
with Dr. Wilhelm Furtwangler,

the famous conductor of
the Berlin Philharmonic,

who was vainly
seeking permission

to keep his Jewish
concertmaster."

Uh, Emmi, pick one
of these, any one

and read it out loud, please.

"Please remember that Dr.
Furtwangler risked his life

to help anyone who asked him.

I personally testified to
having seen literally hundreds

of people lined up
outside his dressing room

after concerts to
ask for his help.

He never turned anyone away.

After he heard me play--

I'm a violinist--
he gave me money

because I was unable to
feed myself or my family.

And then he helped me
to escape to Sweden.

He helped countless
people in similar ways."

And that's only one of
these letters, Major.

And I have lots of them.

How many times have I got to
tell you, I was in insurance.

You think I can't
smell a phony policy

when it's shoved under my nose?

Sure, he helped Jews, but that
was just insurance, his cover,

because all the while, he was
maestro of all he surveyed.

See, Wilhelm, I think you were
their boy, their creature.

You were like an
advertising slogan for them.

This is what we produce,
the greatest conductor

in the world.

And you went along with it.

The truth of the
matter is, Wilhelm,

you didn't need to be
a member of the party.

I made a mistake when I asked
you for your party number.

I should have asked you
for your non-party number,

just like some other
well-known artists.

Emmi, put the record on.

[MUSIC - "SYMPHONY NO.

7 IN E MAJOR"]

You know what that is?

Of course I know what it is.

OK, so what is it?

Bruckner's Seventh-- The Adagio.

Who's conducting?

I am.

Do you know the last time it was
played under these air waves?

How could I know such a thing?

I'll tell you then.

The last time this music
was played on these airwaves

was after they
announced that your pal

Hitler had shot himself.

Listen to it.

Did they pick Little
K's recording?

Did they pick some
other conductor?

No, they picked you.

And why?

Because you represented
them so beautifully.

When the devil died, they
wanted his band leader

to conduct the funeral march.

You were everything to them.

I've always tried to analyze
myself carefully, closely,

saying how I believed I--

I walked a tightrope between
exile and the gallows.

You seem to be blaming
me for not having

allowed myself to be hanged.

I did not directly
oppose the party

because I told myself
that it wasn't my job.

If I had taken any
active part in politics,

I could not have remained here.

But as a musician, I'm
more than a citizen.

I am a citizen of this
country in that eternal sense

to which--

to which the genius of
great music testifies.

I know that a
similar performance

of the great masterpiece is
a stronger and more vital

negation of the spirit of
Buchenwald and Auschwitz

than-- than words.

Have you ever smelled
burning flesh?

I smelled it four miles away.

Four miles away, I smelled it!

Have you ever seen the gas
chambers, the crematoria?

Have you seen the mountains
of rotting corpses?

You talk to me about
culture, art, and music.

You putting that on
the scales, Wilhelm?

You setting culture,
art, and music

against the millions put
to death by your pals?

They had orchestras
in the camps!

They played Beethoven, Wagner.

The hangmen playing
chamber music

at home with their families.

I don't understand the German's
relationship with music.

What do you need music for?

Your powers you could call to
save a few Jews when millions

of them were being annihilated?

Yes!

I blame you for
not getting hanged.

I blame you for your cowardice.

You strut it and swagger,
you fucking piece of shit.

King pig in a shithouse.

You talk to me about
walking a tightrope

between exile and a
gallows, and I [inaudible]..

I love my country.

I believe in music.

What was I to do?

Look around you!

See the country you served.

Look at people who
had real courage, who

took risks, who risked their
lives, like Emmi's father.

Emmi-- Emmi, take your
fingers out of your ears.

I'm talking about your father.

My father only joined
the plot when he realized

that we could not win the war.

What kind of world
do you want, Major?

What kind of world
are you going to make?

Do you honestly believe
that the only reality

is the material world?

If so, you will be left with
nothing, nothing but feculence,

feculence more foul smelling
than that which pervades

[inaudible].

[snap]

How was-- how was
I to understand?

How was I to know what
they were capable of?

No one knew.

I don't want to stay
in this country.

I guess I should have left 1934.

It would have been
better if I left.

[crash]

Get him out of here.

Thank you, Fraulein.

You've been most kind.

Sons of bitches.

Major Arnold, get
me General Wallace.

General, about Furtwangler--

I don't know if we've
got a case against him.

[MUSIC - "SYMPHONY NO.

5 IN C MINOR"]

[inaudible]

Hey, turn that down, will you.

Can you see I'm the phone?

Never mind.

We got a journalist who will
do whatever we tell them.

[RECORD PLAYER PLAYING
DISTANTLY]

[record player playing loudly]

Turn it off!

[MUSIC - "SYMPHONY NO.

5 IN C MINOR"]

We handed Wilhelm Furtwangler
over to the civil authorities.

And he was charged with serving
the Nazi regime with uttering

anti-Semitic slurs, performing
at an official Nazi party

function, and with being a
Prussian Privy Councilor.

Dr. Furtwangler was acquitted.

I didn't nail him,
but I sure winged him.

And I know I did
the right thing.

Furtwangler resumed his
career, but he was never

allowed to conduct
in the United States.

He died in 1954.

Little K succeeded him as head
of the Berlin Philharmonic.

[MUSIC - "SYMPHONY NO.

5 IN

C MINOR"]