A new film, Blondi, takes audiences inside the F\u00fchrer\u2019s bunker in the final days of the Third Reich, from the point of view of his beloved dog<\/p>\n
When Benedict Morrison, who runs the London comedy festival, stood up to present Blondi \u2013 a new film about the dying days of the Third Reich \u2013 at its premiere at a cinema in Brixton earlier this month, he went in big. Picture the scene, he told the audience: it\u2019s 1924 and FW Murnau has just strapped a movie camera to a bicycle and invented subjective cinematic perspective. The result was The Last Laugh which captured the precariousness of life in Germany after the first world war with such poignant precision it foreshadowed the following decade \u2013 and revolutionised cinema.<\/p>\n
For Blondi, shot 100 years later, the camera was strapped to a dog. Lexie, a seven-month-old German shepherd, is both the title character \u2013 Hitler\u2019s last dog, possibly the most famous hound in geopolitics \u2013 but is also the co-director of photography, or cinemadographer if you prefer, as both Pablo \u00c1lvarez-Hornia (the film\u2019s producer) and Jack Salvadori (its co-director) certainly do. It makes for a novel cinematic experience. Sometimes you feel a bit sick at the sudden changes of pace and freaky angles. \u201cSome things need to be made uncomfortable,\u201d says \u00c1lvarez-Hornia, \u201cand, in a way, it needed to be dirtier and grittier and uglier for it to work.\u201d<\/p>\n
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