Hymn of the Nations

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.

Themes

Themes & topics

Historical background

Viewers around 1944 encountered Hymn of the Nations in a market learning how screen stories could carry social themes as well as spectacle.

Why this film matters

Archivists revisit Hymn of the Nations (1944) for performance styles and craft choices that later releases refined or replaced.

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.'

What critics said

Modern retrospectives screen Hymn of the Nations for craft context—pacing, performance, and camera choices of 1944.

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 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.

Awards & recognition

• National Film Registry (Inducted 1990s/2000s - recognized for historical significance)

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.

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.

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

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.

Where to watch

• National Archives (Online)
• YouTube (Public Domain)
• Internet Archive
• DVD: 'Toscanini: The Maestro & Hymn of the Nations' (RCA/BMG)