A Nazi businessman saved 200,000 lives in Nanjing, but his film remains controversial
In short: In 2009, director Florian Gallenberger released a biographical film about John Rabe, a German businessman who leveraged his Nazi Party membership to establish a safety zone during the 1937 Nanjing Massacre. While the film earned critical acclaim and multiple awards, it faced intense resistance and censorship in Japan.
The film, titled John Rabe or City of War, chronicles the harrowing experiences of a Siemens executive living in Nanjing during the Second Sino-Japanese War. When the Imperial Japanese Army overran the city, Rabe used his status as a German ally to organize an international committee, creating a sanctuary that protected over 200,000 Chinese civilians. The narrative follows his struggle to manage the zone's limited resources while navigating the brutal reality of the massacre, which followed the defeat of Chinese Nationalist forces.
Production was a complex international effort involving Germany, China, and France. Director Florian Gallenberger faced significant political hurdles, including temporary production halts due to sensitive Sino-Japanese gas exploration deals. The film's depiction of historical atrocities, specifically the role of Prince Asaka—the commander who sanctioned the order to kill all captives—led to intense backlash. Japanese ultranationalists, who deny the massacre occurred, vociferously opposed the film, and no major Japanese distributor would touch it upon its initial release.
While the film is largely historically accurate, it does take creative liberties, such as replacing the real-life committee member Minnie Vautrin with a fictional character, Valérie Dupres. Despite the controversy, the film was well-received internationally, winning several German Film Awards and earning comparisons to Schindler's List. It was eventually screened in Japan in 2014, organized by a group dedicated to preserving the historical facts of the Nanjing Massacre. The film serves as a stark reminder of the complexities of historical memory and the persistent friction between cinematic truth and nationalistic revisionism.
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