Universal mogul Carl Laemmle hoped that the 1930 film would show, in unsparing terms, war as the common enemy of all mankind. While rapturously received by the industry, an antisemitic uproar ensued in Germany as Hitler's party rose to power.
in Germany marked an early Hollywood encounter with the pathological race hatred of a theretofore unknown political party. In, a brash industry-centric daily that had just begun publication the previous September, editor-publisher Billy Wilkerson felt compelled to define an unfamiliar word for his readership: “The Nazis—as the National Socialists are called—,” he explained in an editorial condemning the violence at the Mozartsaal.
In 1929, looking at the international sales figures from Remarque’s novel, Laemmle saw more than an opportunity for a profitable motion picture project. Remarque had made war itself — not the soldiers of the belligerent nations — the common enemy of all mankind. Not too long ago, the German soldier was demonized in Allied war propaganda.
Screenwriter Del Andrews and playwrights George Abbott and Maxwell Anderson adapted the book and Russian born director Lewis Milestone helmed the project. Himself a veteran of the photographic unit of the U.S. Army Signal Corps, Milestone prioritized verisimilitude, importing $27,000 worth of authentic German field equipment — uniforms, gas masks, trenching tools.
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