In 1925 Adolf Hitler made a controversial set of nine photos with his photographer friend, Heinrich Hoffman, as Hitler practiced his public speaking moves, rehearsing his poses and hand gestures for his public speeches.
In 1985, Australian actor John Bell and photographer Mark Anning recreated the infamous photo session during rehearsals for the Nimrod Theatre production of Bertolt Brecht’s Resistible Rise of Arturo Ui.
© Mark Anning photos 1985 All Rights Reserved. Please contact before using.
John Bell recreates famous Hitler photo session
In 1985 during the theatre stills photography for Nimrod Theatre production (at the York Theatre, Seymour Centre, Sydney) of Berthold Brecht’s play Resistible Rise of Arturio Ui, photographer Mark Anning asked the lead actor, prominent Shakespearian thespian John Bell if he’d recreate the famous Hoffman – Hitler photo session.
The photo session was not meant to be a faithful reproduction of the original photos, the purpose was to capture the intent of the originals. Obviously, it was not our intention to glorify Hitler or his actions, rather it was to educate, inform and raise awareness of his skilled practice of the art of propaganda – the same as it was Brecht’s intent in writing the play.
“It’s a dream role – half Charlie Chaplin, half Adolf Hitler. But then everyone enjoys impersonating Hitler. He was such a weirdo. I watched hours of film and got all his gestures and mannerisms.”
John Bell on playing the character Arturio Ui
Resistible Rise of Arturio Ui has frequent references to Shakespeare. The character Arturio Ui is compared to Richard III; Ui is visited by the ghost of one of his victims as in Macbeth; and Hitler’s practiced prowess at public speaking is referenced when Ui receives lessons from an actor in walking, sitting and orating, which includes his reciting Mark Antony’s speech from Julius Caesar.
John Bell in this re-enactment of a historic photo session with Adolf Hitler and Heinrich Hoffman. © Mark Anning photos 1985 All Rights Reserved. Please contact before using.
What is unusual in the original photos is they defy a genre … they’re not propaganda per se, they’re not portraiture (though these photos John Bell are portraiture), they’re not advertising, public relations, reportage, photojournalism, etc … how best to describe them?
The photos were not technically portraits or reportage or propaganda, but they were sinister. There is more detailed analysis of the original photo session here.
Germany, 1925
In 1925 German photographer Heinrich Hoffman made a series of photographs of his friend, fledgling politician Adolf Hitler as he practiced his public speaking histrionics.
The pair spent hours photographing Hitler whilst listening to recordings of Hitler’s speeches, and then they examined the photographs to see the effectiveness of each dramatic pose.
Hitler realised the importance of these photographs, particularly as Hitler was selling himself as a natural leader and public speaker.
After seeing the photographs, Hitler ordered Hoffmann to destroy the negatives, but he disobeyed and the photos only resurfaced after 1945.
Hoffman went on to become Hitler’s personal photographer.
If you have a comment regarding these images, please leave them below (I don’t collect the email addresses or use them in any way unless you request a response). I’d like to hear your thoughts about the genre of the originals, the ethics of manufacturing and constructing a politician’s public image, and the fine art of political propaganda.
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Further reading
With Hitler in the West, 2015 by Heinrich Hoffmann
Hitler Was My Friend: The Memoirs of Hitler’s Photographer by Heinrich Hoffmann
Jugend um Hitler : 120 Bilddokumente aus der Umgebung des Führers: Youth around Hitler: 120 picture documents from the environment of the leader, 2011 by Heinrich Hoffmann
