Hymn of the Nations
"The Maestro's Tribute to Freedom!"
Plot
Commissioned by the U.S. Office of War Information, this documentary serves as a powerful anti-fascist statement featuring the legendary conductor Arturo Toscanini. The film opens with intimate scenes of Toscanini at his home in Riverdale, New York, where he is portrayed not just as a musical genius but as a passionate advocate for democracy who fled Mussolini's Italy. The narrative then shifts to NBC's Studio 8H, where Toscanini leads the NBC Symphony Orchestra in a stirring performance of Verdi's 'La Forza del Destino' overture. The centerpiece of the film is a monumental performance of Giuseppe Verdi's 'Inno delle nazioni' (Hymn of the Nations), featuring tenor Jan Peerce and the Westminster Choir. In a bold political gesture, Toscanini modifies Verdi's original 1862 score to include 'The Star-Spangled Banner' and 'The Internationale,' symbolically uniting the Allied powers and celebrating the impending liberation of his homeland.
About the Production
The film was directed by Alexander Hammid (born Alexandr Hackenschmied), a key figure in the Czech and American avant-garde. It was specifically designed for overseas distribution to show liberated European populations that America respected and preserved European high culture. The production faced significant internal debate regarding the inclusion of 'The Internationale'; while the OWI was hesitant about promoting a communist anthem, Toscanini insisted it was essential to represent the Soviet Union's role in the Allied struggle and the Italian partisans' resistance.
Historical Background
Made at the height of World War II, the film was a key piece of 'The American Scene' series produced by the OWI. It was released shortly after the fall of Mussolini in July 1943, serving as a celebration of the 'New Italy' that would emerge from the ruins of Fascism. By featuring Toscanini—the world's most famous conductor and a known exile from Mussolini's regime—the U.S. government aimed to counter Axis propaganda that portrayed Americans as uncultured 'barbarians.' It also served to solidify the 'Grand Alliance' by musically weaving together the anthems of the US, UK, France, Italy, and the USSR.
Why This Film Matters
The film is a landmark in the history of music on screen, providing one of the most comprehensive visual records of Toscanini's conducting technique. Culturally, it represents a unique moment of American-Soviet cooperation before the onset of the Cold War. It also stands as a testament to the role of the 'engaged artist,' showing how classical music could be mobilized as a weapon against tyranny. Its preservation by the Library of Congress and the Academy of Motion Picture Arts and Sciences underscores its status as a vital historical document of 20th-century political and art history.
Making Of
The filming took place in December 1943 at NBC's famous Studio 8H, which is now the home of 'Saturday Night Live.' Director Alexander Hammid utilized multiple camera angles to capture Toscanini's intense conducting style, which was a departure from the static single-camera setups common in early televised concerts. Toscanini was known for his perfectionism and was initially wary of the filming process, but he agreed to the project because of its potential to aid the anti-fascist cause. The 'home' sequences were carefully staged to present Toscanini as a 'citizen-artist,' showing him reading newspapers and playing with his grandchildren to humanize the often-intimidating 'Maestro.'
Visual Style
Shot in high-contrast black and white by Boris Kaufman, the film uses expressive lighting to emphasize the furrows and intensity of Toscanini's face. The use of close-ups on the musicians' hands and instruments, combined with sweeping shots of the choir, creates a dynamic visual rhythm that matches the music's tempo. The 'home' scenes utilize a more naturalistic, documentary-style lighting to contrast with the theatricality of the studio performance.
Innovations
The film is noted for its sophisticated synchronization of sound and image, a challenge given the complexity of an orchestral and choral performance. It was one of the first major documentaries to successfully use multiple-camera coverage of a symphony orchestra to create a cohesive narrative through editing rather than just recording a performance.
Music
The soundtrack consists entirely of music by Giuseppe Verdi, specifically the Overture to 'La Forza del Destino' and the 'Inno delle nazioni.' The latter was rearranged by Toscanini to include 'The Star-Spangled Banner' and 'The Internationale.' The audio was recorded using RCA's high-fidelity microphones, providing a clarity that was state-of-the-art for 1944. Tenor Jan Peerce provides a powerful vocal performance that anchors the choral finale.
Famous Quotes
Narrator: 'This is the day Arturo Toscanini had his answer ready... and his answer was music.'
Narrator: 'He refused to allow his music to become the servant of tyrants.'
Memorable Scenes
- The dramatic opening of the 'La Forza del Destino' overture, where the camera focuses intensely on Toscanini's downbeat.
- The climax of the 'Hymn of the Nations' where the choir and orchestra erupt into 'The Star-Spangled Banner,' followed by the controversial 'Internationale.'
- The quiet, domestic shots of Toscanini in his library, showing the intellectual and human side of the world-famous conductor.
Did You Know?
- Arturo Toscanini changed the lyrics of the Italian national anthem in the piece from 'Italia, patria mia' (Italy, my fatherland) to 'mi patria tradita' (my betrayed fatherland) to protest the Fascist regime.
- The film was originally intended for audiences in liberated Italy and other European countries, only receiving a U.S. theatrical release in 1946.
- During the Cold War, the 'Internationale' segment was frequently censored or cut from prints distributed in the United States.
- The cinematographer, Boris Kaufman, was the brother of legendary Soviet filmmaker Dziga Vertov and later won an Oscar for 'On the Waterfront' (1954).
- The film features the NBC Symphony Orchestra, which was created specifically for Toscanini in 1937.
- The narration was written by the acclaimed poet and novelist May Sarton.
- Toscanini's son, Walter, was heavily involved in the production and defended the inclusion of the Soviet anthem as a symbol of 'brotherhood' rather than party politics.
- The film was preserved by the Academy Film Archive in 2010 as part of the Academy War Film Collection.
What Critics Said
At the time of its 1946 U.S. release, Time Magazine praised the film's 'unshowy, clear intelligence' and noted that the camera captured a 'human magnificence' in Toscanini's face that rivaled Michelangelo's sculptures. Modern critics view it as a fascinating hybrid of avant-garde filmmaking (thanks to Hammid and Kaufman) and state-sponsored propaganda. It is frequently cited by musicologists for its high-quality sound recording and for Toscanini's unique arrangement of the Verdi cantata.
What Audiences Thought
The film was reportedly very well-received in liberated territories, where audiences were moved by the sight of the exiled Maestro honoring his homeland. In the United States, it served as a point of pride for the Italian-American community, many of whom had faced suspicion during the war. Its later censorship during the Red Scare era reflects how the film's message of 'Allied unity' became controversial in a different political climate.
Awards & Recognition
- National Film Registry (Inducted 1990s/2000s - recognized for historical significance)
Film Connections
Influenced By
- The 'Why We Fight' series (Frank Capra)
- European Avant-Garde Cinema
- The musical tradition of Giuseppe Verdi
This Film Influenced
- Of Men and Music (1951)
- Toscanini: The Maestro (1985)
- Various televised concert formats
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Film Restoration
The film was restored and preserved by the Academy Film Archive in 2010. A restored version by the Library of Congress is also available, often including the original 'Internationale' segment that was previously censored.