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HISTORY

A written prologue appears in the opening credits as stated: “It is estimated that the Nazi Party of America – National Socialist White People’s Party – has approximately 2000 members; Nazi units exist in twenty five cities across the country; Four are in California.”
       The following statement appears in the end credits: “The federal officers estimate the strength of (Hitler’s) forces at not over 1000 and describe them as Boy Scouts having an outing. Playing at war…Persons better fitted for the comic opera stage than a serious effort to overthrow the government - New York Times Editorial, November 7 & 11, 1923.” End credits include a "Special Thanks" to Patricia Rose Duignan, Andrew Elkind, and Bruce Nethercut.
       The 16 Oct 1976 SatRev reported that filmmaker Walter F. Parkes became interested in the project after a 1974 San Francisco, CA, school-board meeting, turned to the discussion of forced school busing, and ten armbanded Nazis arrived to display their disapproval. He reportedly researched the issue of white supremacy in CA for three months, attending Nazi party meetings that increased rapidly in size. According to SatRev, the group grew from less than ten members to ninety during the production.
       A 21 Apr 1976 Var article stated that the feature evolved from a twelve-minute black-and-white short, used for fundraising. The “teaser” was edited at the Stanford University School, where both Parkes and his partner, Keith F. Critchlow, were film students.
       As noted in a 5 Mar 1976 HR article, the filmmakers took the short to the Milan International Film and Multimedia Market (MIFED), where they raised money by ...

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A written prologue appears in the opening credits as stated: “It is estimated that the Nazi Party of America – National Socialist White People’s Party – has approximately 2000 members; Nazi units exist in twenty five cities across the country; Four are in California.”
       The following statement appears in the end credits: “The federal officers estimate the strength of (Hitler’s) forces at not over 1000 and describe them as Boy Scouts having an outing. Playing at war…Persons better fitted for the comic opera stage than a serious effort to overthrow the government - New York Times Editorial, November 7 & 11, 1923.” End credits include a "Special Thanks" to Patricia Rose Duignan, Andrew Elkind, and Bruce Nethercut.
       The 16 Oct 1976 SatRev reported that filmmaker Walter F. Parkes became interested in the project after a 1974 San Francisco, CA, school-board meeting, turned to the discussion of forced school busing, and ten armbanded Nazis arrived to display their disapproval. He reportedly researched the issue of white supremacy in CA for three months, attending Nazi party meetings that increased rapidly in size. According to SatRev, the group grew from less than ten members to ninety during the production.
       A 21 Apr 1976 Var article stated that the feature evolved from a twelve-minute black-and-white short, used for fundraising. The “teaser” was edited at the Stanford University School, where both Parkes and his partner, Keith F. Critchlow, were film students.
       As noted in a 5 Mar 1976 HR article, the filmmakers took the short to the Milan International Film and Multimedia Market (MIFED), where they raised money by selling advance European theatrical and television rights. The film was also financed by the husband and wife venture Yasny Talking Pictures, which supported emerging filmmakers, according to production notes from AMPAS library files.
       Estimates of the documentary’s budget vary greatly. The 16 Oct 1976 SatRev stated the budget was slightly more than $50,000 while the 21 Apr 1976 Var claimed it was a half-deferred, tax sheltered budget of $105,000, and the Jul 1976 Cinemaphile put the cost at $300,000. The 9 Mar 1976 HR noted that the “cash budget” was approximately $56,000 with an additional $50,000 in deferred costs.
       Principal photography and editing took place over an eight-month period, according to various sourses including SatRev. As noted in the 9 Mar 1976 HR, the documentary was filmed in El Monte, Tracey and San Francisco, CA.
       The 20 Sep 1976 Box announced that Intercontinental Releasing Corporation aquired worldwide distribution rights. Regarding The California Reich as an important film, but “a small moneymaker,” International initially planned to release only ten to fifteen prints, hoping good word of mouth would generate interest from art houses.
       A 31 Oct 1978 HR article reported that a screening at the Harold Clurman Theatre in New York City, was met by strong sentiment from the audience, who yelled anti-Nazi slogans and rushed the stage ripping the movie screen. Others forced their way into the projection room and took the film off the projector. Police arrived and restored order. Critchlow, who was in attendance, arranged for another copy to be delivered and the screening resumed forty-five minutes later. A group called the “Revolutionary Socialist League and Committee Against Racism” took credit for the attack.
       A piece in the 9 Mar 1976 HR stated that Harvey B. Schechter of the Anti-Defamation League of the B’nai B’rith said the film was “made from the blood of my people,” and declaimed the film as “incredibly immoral.” However, actor Burt Lancaster sent a letter to fellow Academy of Motion Pictures Arts and Sciences members urging them to see the documentary. It was nominated for an Academy award for Best Documentary.
       According to a piece in the 4 Jun 1976 DV, the producers edited thirty minutes of extra footage due to various threats. The footage was added to the film after its 27 Mar 1976 premiere at Filmex, Cannes Film festival screenings, and Academy eligibility screenings.





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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
20 Sep 1976
---
Cinemaphile
Jul 1976
---
Daily Variety
26 Mar 1976
---
Daily Variety
4 Jun 1976
p. 14
Hollywood Reporter
5 Mar 1976
p. 8, 10
Hollywood Reporter
9 Mar 1976
---
Hollywood Reporter
31 Oct 1978
---
Los Angeles Times
23 Mar 1976
p. 1
Saturday Review
16 Oct 1976
---
Variety
31 Mar 1976
---
Variety
21 Apr 1976
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
City Life Films Presents
A Film By Walter F. Parkes & Keith F. Critchlow
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
WRITERS
PHOTOGRAPHY
MUSIC
Orig mus
DETAILS
Release Date:
1976
Premiere Information:
Los Angeles opening: 12 Mar 1976
Production Date:

Physical Properties:
Sound
Color
Duration(in mins):
57
MPAA Rating:
PG
Country:
United States
Language:
English
SYNOPSIS

At San Francisco State College, Nazi group leader Allen Vincent, harasses anti-Nazi demonstrators with racist epithets. Dressed in Nazi regalia and a riot helmet, Allen protests the “impossible” demands of racial minorities for educational equality. He calls for all whites to join the Nazi party so they can defend themselves against Jews and African-Americans. Allen and his followers are greatly outnumbered by the anti-Nazi demonstrators and take refuge in a school building. The police try to tame the crowd, then escort Allen and his men to their cars despite Allen’s protests that his right to freedom of speech is being violated. The crowd chants, “You can’t hide. You’re responsible for genocide.” Sitting in his one-room apartment, Allen recalls his life story. After suffering a nervous breakdown in Soledad Prison, he was checked into a mental hospital and treated with electric shock therapy. When he was younger, his mother died of alcoholism, and he ran away from home but was placed in a forestry camp, where he was often beaten and lived in constant fear. He was later placed in a series of foster homes, reform schools and prisons. Allen claims he severed time because he is a victim of “loneliness.” At a Nazi unit meeting, Allen introduces a man who harangues the group on the dangers of multi-racism. Allen then turns the podium over to another storm trooper, who explains that the group needs to collect money for the electric bill and rental hall fees. He also asks for donations of candles, cleaning supplies and plastic garbage bags. Later, at a ...

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At San Francisco State College, Nazi group leader Allen Vincent, harasses anti-Nazi demonstrators with racist epithets. Dressed in Nazi regalia and a riot helmet, Allen protests the “impossible” demands of racial minorities for educational equality. He calls for all whites to join the Nazi party so they can defend themselves against Jews and African-Americans. Allen and his followers are greatly outnumbered by the anti-Nazi demonstrators and take refuge in a school building. The police try to tame the crowd, then escort Allen and his men to their cars despite Allen’s protests that his right to freedom of speech is being violated. The crowd chants, “You can’t hide. You’re responsible for genocide.” Sitting in his one-room apartment, Allen recalls his life story. After suffering a nervous breakdown in Soledad Prison, he was checked into a mental hospital and treated with electric shock therapy. When he was younger, his mother died of alcoholism, and he ran away from home but was placed in a forestry camp, where he was often beaten and lived in constant fear. He was later placed in a series of foster homes, reform schools and prisons. Allen claims he severed time because he is a victim of “loneliness.” At a Nazi unit meeting, Allen introduces a man who harangues the group on the dangers of multi-racism. Allen then turns the podium over to another storm trooper, who explains that the group needs to collect money for the electric bill and rental hall fees. He also asks for donations of candles, cleaning supplies and plastic garbage bags. Later, at a rundown home surrounded by rusting automobiles, Allen watches sports on television with a family of Nazi sympathizers. The father dreams of a racially segregated football league that would pit white players against black players. The grandmother trains two small children to give the Nazi salute and indoctrinates them on the dangers of African-Americans and Jews. The whole family laughs when a five-year-old boy yells that he wants to kill blacks and throws karate punches in the air. At the group’s Christmas party, a tree is trimmed with swastikas and Santa wears a swastika armband. Later, Ken McAllister, a Nazi foot soldier and warehouse worker, shows off the arsenal of weapons in his home. He sits with his wife and explains that the U.S. government is creating a racial war by forcing whites to accept blacks in the work force. He insists that even though the Nazi movement is small, it is growing and will inevitably take over. Mrs. McAllister shares her recipe for a Nazi flag cake explaining the trick is melting licorice just enough to bend it into a swastika. They take the cake to the meeting hall to celebrate Adolph Hitler’s birthday, where Allen gives an impassioned speech proclaiming that Hitler’s spirit lives on. In Tracy, California, a former Los Angeles, California unit member, Paul Raymond, has started another Nazi group. He explains the only way to get respect in Tracy is by “cracking heads open.” His brother, Wayne, was a U.S. Marine, but he now hates the military because he feels they fight for a system that represses the white man. Wayne vows to only fight for his race. About one hundred and twenty miles away, in Monterey, California, Staff Sargent Fred Surber, 74th Infantry, U.S. Army, sits in his Fort Ord office and explains he was fined $200 for Nazi party fundraising. At the Suber home, Fred’s young son James admits he only goes to unit meetings to make his father happy, but he hates that meetings are on Saturdays because he wants a day off to ride his bicycle. James is also embarrassed to be the only child at the Nazi meetings and is confused that his schoolmates think he is prejudiced. James shares a story he wrote and illustrated called, “James Surber Becomes Hercules.” In the story, James sees black men working as slaves, and his father tells him that black men are just “chimpanzees.” Back at San Francisco College, the ten men from Paul’s Tracy unit arrive to reinforce the San Francisco unit as they stage another demonstration. Allen briefs his troops that they must not fight unless they are physically attacked. Explaining they will lose the public relations “war” if they use weapons, he gives them permission to fight back using fists. Yelling that it is an honor to die for white power, Allen marches his men through a crowd of angry protesters and screams that the Nazis are the protectors of liberty. Later, Allen explains that in the future there will be no more loneliness. In Tracy, James Raymond says he is fighting for a future where people are not afraid to say what they think. Ken McAllister insists that a police state is needed to establish law and order. Young James Surber believes all blacks will be sent back to Africa and the whites will live happily ever after. His father, disbelieves in the past existence of Nazi death camps but he wishes they were real so he could go to Auschwitz and joyously roll in the dirt.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.