Nuremberg: Nazis on Trial
| Nuremberg: Nazis on Trial | |
|---|---|
DVD cover
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| Also known as | The Nuremberg Trial: Inside the Nazi Mind |
| Genre | Docudrama |
| Written by | Nigel Paterson, Paul Bradshaw, Michael Wadding |
| Directed by | |
| Starring | |
| Narrated by | Matthew Macfadyen |
| Composer(s) | Glenn Keiles |
| Country of origin | United Kingdom |
| Original language(s) | English |
| No. of seasons | 1 |
| No. of episodes | 3 |
| Production | |
| Producer(s) | |
| Editor(s) | Ben Giles, Alan Lygo, Ged Murphy |
| Distributor | BBC |
| Release | |
| Original network | BBC Two |
| Picture format | 16:9 |
| Audio format | Stereo |
| Original release | 25 September – 9 October 2006 |
| External links | |
| www |
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Nuremberg: Nazis on Trial, is a BBC documentary film series consisting of three one-hour films that re-enact the Nuremberg War Trials of Albert Speer, Hermann Göring, and Rudolf Hess. They were broadcast on BBC Two in 2006 to coincide with the 60th anniversary of the trials. In 2015, American Heroes Channel aired the film under an alternate title, "Nuremberg: Nazi Judgement Day".
Written by directors Nigel Paterson, Paul Bradshaw and Michael Wadding, the three films were produced and shown by the BBC to commemorate the 60th anniversary of the Nuremberg War Trials. Each film centred on a different one of the senior Nazis that were on trial and tells the story of their crime and punishment.
The films employ the dual docudrama format interweaving contemporary interviews and archive footage with dramatic re-enactments of the events. The cross-cutting between footage of the real trial and the meticulously researched reconstructions garnered critical acclaim and a BAFTA nomination for the editor, Ben Giles.
The series was filmed with the Panasonic SDX 900 DVCPRO 50 professional camcorder.
Joe Joseph writing in The Times recommends the diligently researched series. Joseph commends the casting of Nathaniel Parker, Robert Pugh and Ben Cross alongside a vast array of costumed extras. He also admires the high production values that use meticulously constructed sets and washed out colours to match modern reconstructions to archive footage. Joseph however feels the production failed to achieve the right balance within the docudrama format.
David Chater writing in the same paper goes even further stating that the strength of the series rests in the contribution from eyewitnesses and historians and it is pointless to go to all the trouble and expense of the dramatic re-constructions. Although he does commend the series for shedding light on the crimes of individual members of the Nazi party and some of the personal, moral and political issues that surrounded the trials, he feels that it would have been far more effective as a straight documentary.
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