Nazis

The Nazis produced 1,200 films. 44 of them remain prohibited and guarded by the German Government to this day.

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In the Faculty of Information Sciences of the Complutense University of Madrid An optional subject is taught called History of informative and documentary cinema. A few years ago, the teacher who taught that class had the habit of giving his students fragments of ‘The triumph of the will‘, the documentary that Leni Riefenstahl directed about the Nazi party congress in Nuremberg, in 1934. She always added that she only showed those fragments because, if she put it in its entirety, she feared that we would want to join the party. ‘Triumph of the Will’ is one of the more than 1,200 films that the Ministry of Propaganda German, under the command of Joseph Goebbels, produced to spread Nazi ideals, anti-Semitism and to justify the Second World War. When the war ended, the Allies banned about 300 of them, and 44 are still on that list in charge of the German government. Why are these movies banned? Those forty-four were the subject of a documentary a few years ago, ‘Forbidden Films’which not only explained what kind of tapes they were and what they were about, but also asked whether they should no longer be banned and what legacy they might have left, 70 years after the end of the war. Your director, Felix Moellerproduced it in the face of disinterest of German youth about the history of the Nazis and the rise of the extreme right in Europe, and the documentary shows the reactions of different people when watching some of these films. Because the German government does allow their exhibition, but for educational purposes and with an expert in the room to explain and contextualize them. In the trailer you can already see some of these opinions, from those who are surprised because these films have good technical quality and are entertaining, to those who think that some of them should remain prohibited because they were, at the time, Nazi symbols, such as ‘The Jew Süss‘, which was probably the most successful of all the productions promoted by Goebbels. ‘The Jew Süss’ was the second film adaptation of the life of Joseph Süss Oppenheimer, financial advisor to the Duke of Württemberg during the 18th century and who was accused of fraud, bribery, treason and even illicit relations with several ladies of the court, and executed for these crimes. His story had been treated in books and even in plays that generally focused on it as a great human tragedy. But Goebbels saw that he could present Süss as a arrogant jew who infiltrated the Germans to take away what was theirs. He already had the most important piece in his cinematic anti-Semitic propaganda. ‘The Jew Süss’ was a great popular success. It was screened at the 1940 Venice Film Festival, receiving good reviews for its technical workmanship, reviews that did not seem to be aware of the ultimate objective of the film. Goebbels himself wrote in his diary about the film that it was “an anti-Semitic film of the kind we could only wish for. I’m very happy about it.” Good but dangerous movies In 1994, the film critic Roger Ebert wrote about one of those 44 banned Nazi films, ‘Triumph of the Will’, that “we would all have reflected on the received opinion that the film is good but evil, and that writing about it raises the question of whether quality art can be in the service of evil.” Ebert asked himself the same question with ‘The Birth of a Nation’, RW Griffith’s film that is considered one of the founding works of cinema and, at the same time, deeply racist. Those films, at the time, were not considered that way. Luis Buñuel himself stated in his memories that, in 1935, no one in Hollywood thought that ‘Triumph of the Will’ was dangerous because there were too many regional dances and too many songs for its propaganda message to be taken seriously. The Second World War drastically changed that perception, but until then, the productions of the Ministry of Propaganda Germans used entertaining stories to convey their ideals. They portrayed the British as cruel inventors of concentration camps or justified the invasion of Poland by showing the Poles persecuting the German minority living there. They could be full of stereotypes, historical manipulations and blatant attempts to “brainwash” their viewers, but they were well produced and shot and were very successful at the time. For all these reasons, they remain prohibited. But should they continue to be? In ‘Forbidden films’ there are scholars who claim that these films clearly show what should not be repeated in the future and that, therefore, their access to them should not be restricted, while former members of neo-Nazi parties point out another reason for them to be removed from the “black list”: “When something is prohibited, it becomes interesting. Prohibiting things makes them fascinating and taboo because if it is prohibited, it must be true to a certain extent.” Other Banned Non-Nazi Films Nazi ideological propaganda is the reason why these 44 films remain banned in Germany, which also has a great controversy over the passage to public domain of ‘Mein Kampf’but throughout the history of cinema there have been films that have also been included in “blacklists” for reasons that can range from accusations of obscenity to, directly, blasphemy. Or it could have happened to them like ‘The great dictator‘, the satire that Charles Chaplin made of Hitler and Mussolini, in 1940, and which was banned in Argentina precisely for that parody, since Germany had been an ally of Juan Domingo Perón. It was even on the verge of not being shown in the United Kingdom because, when filming was announced, the country was trying to appease Hitler in his expansionist desires for Europe. When it was released, however, the British were already at war with the Germans and there was no reason for its censorship. You don’t have to go to China or countries with fundamentalist regimes to find the most … Read more

It was so good that it made us doubt the Nazis

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When ‘Starship Troopers’ hit theaters in 1997, most audiences expected a light science fiction adventure, perhaps a late heir to the spirit from ‘Star Wars’. What he received was something very different: a film that opened with a propaganda advertisement that was as brilliant as it was disturbing, an exercise in political satire so sharp that many viewers and critics interpreted it backwards. The satire that nobody wanted to see. Director Paul Verhoeven, a European marked by memories of the Nazi occupation and obsessed with dissecting American authoritarianism, conceived from the beginning a work that did not talk about insects or space battles, but about the way in which an apparently democratic society can slide towards militarization, fascism and blind obedience. That inaugural announcement It was not a simple aesthetic resource: it was the thesis of the film compressed into seconds, a direct adaptation of Nazi propaganda filmed by Leni Riefenstahla mirror held out to the viewer so that they could recognize, in the imposed enthusiasm of the young recruits, the mechanisms that make any totalitarianism possible. Fascist future and pop aesthetics. Verhoeven departed from an uncomfortable premise: the Heinlein novelthe basis of the film, was essentially a militaristic text that treated citizenship as a privilege linked to armed service. Instead of softening that vision, he decided to exaggerate it to the point of absurdity, turning his protagonists into stylized versions of the Aryan heroes that Riefenstahl immortalized in ‘Triumph of the Will’. The casting, in fact, was a ideological decision: young, perfect faces, with square jaws, that fit with Nazi iconography so that the viewer, even if they did not recognize it immediately, felt the disturbing familiarity of a historically charged aesthetic. The recruitment announcement (soldiers looking at the camera, declaring “I’m doing my part”) replicated shot by shot the exaltation of duty and obedience of Third Reich propaganda. What on the surface seemed like a visual joke was actually the key to deciphering the entire tone of the film. Let’s see the sequence: The smile that hides the horror. In reality, the false advertisements that Verhoeven had employed already in ‘RoboCop’ and ‘Total Recall’ acted as windows to societies that they represented: board games that trivialized nuclear war, holiday campaigns that promised false lives to evade one’s own. In ‘Starship Troopers’, that language found its final form. The initial announcement shows military victories, a dehumanized enemy and an army enveloped in enthusiasm. The satire, however, lies not in the excess, but in how easy it is for that excess to seem normal. The most disturbing detail (the joyful presence of children in a war environment, collaborating in the propaganda machine) underlines that the fascist ideal does not need explicit violence to function: it is enough to normalize indoctrination from childhood, it is enough to turn war into entertainment and obedience into a virtue. Verhoeven does not show the children being hurt; That emptiness is part of the message, since it points to a future in which they will inevitably also be sacrificed by that same patriotic logic. The original misunderstanding. The premiere of ‘Starship Troopers’ was received with a misunderstanding which today is almost legendary. There were editorials that they even accused Verhoeven and his screenwriter Ed Neumeier of making neo-nazi propaganda. The public, expecting a heroic blockbuster, found a film that laughed at their expectations and that, by showing perfect and enthusiastic heroes, posed the question that no one wanted to hear: what the hell happens when those who seem like heroes represent a morally rotten ideal? The announcement was main trigger of that rejection. His advertising tone, his energy youthits aesthetics cleancaused many to take it literally, unable to perceive that the exaggeration did not glorify war, but rather ridiculed it. Verhoeven, surprised by the misunderstanding, I would remember years later that even actor Neil Patrick Harris appeared in the film dressed in a uniform that evoked that of the SS. And yet, the satire went unnoticed by much of the American public. The advertisement as a masterpiece. Today, with the passage of time, the advertisement inside ‘Starship Troopers’ It is considered a masterpiece of political satire. It works on several simultaneous levels: it pays homage to the cinematic form of Nazi propaganda, parodies American recruiting rhetoric, exposes the ease with which television and advertising language can legitimize dangerous ideas, and serves as an entry point into a universe where war It is spectacle and the enemy. Verhoeven knew that the key to authoritarianism is not explicit repression, but in seductionin the construction of that heroic story that makes desirable what should be disturbing. That is why the advertisement is, in my opinion, so accurate: because it is not a crude parody, but rather a perfectly functional piece of propaganda within the narrative universe itself, capable of deceiving even those who see it from the outside. Reality slap. If you like, the ‘Starship Troopers’ announcement is not just a spectacular introduction, it is the film’s manifesto. If the director had explained his satire through explicit speech, the play would have lost its edge. Instead, he chose a recognizable format (the ad of a lifetime) to show how an entire society can embrace militarism almost without realizing it… and we don’t have to go very far to recognize it currently. Riefenstahl’s conscious copy did not seek to honor, but to denounce, and the luminous aesthetic did not seek to beautify, but to make uncomfortable. In the end, humor did not even seek to entertain, but rather to arouse the viewer’s suspicion. And in that contrast lay the genius of the advertisement: forcing us to ask ourselves a question that, for years, many avoided asking. And if we don’t recognize ourselves in that mirror, maybe (like Verhoeven himself hinted) is because we are uncomfortable with how close fictional propaganda can be to contemporary realities. Image | TriStar Pictures In Xataka | In 1975 a party ended on the beach. What happened next was so chilling that people … Read more

One conspiracy theory says that all the instruments in the world are poorly tuned. And of course it includes the Nazis

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You may not know it, but there are people convinced that you have been hearing ‘wrong’ the music. Not just you. Everyone. And not because of a matter of taste or a problem with the bands, but of how we tune the instruments. In his opinion, we have been using the wrong reference (in hertz) for decades as a result of a Machiavellian Nazi plan to distort consciences. Everything is limited to a dilemma: 432Hz or 440Hz? Of hertz, Nazis and conspiracies. At this point in the film, anyone would say that it is difficult to be amazed by conspiracy theories. And rightly so. The conspiracy theorists have years decades defending all kinds of conjectures that talk about end of the world or diabolical population control plans. If the Magufo universe has something, however, it is an infinite capacity to surprise, as demonstrated by a theory that has sounded with force in the last few years. Its premise is certainly surprising: we have been tuning our musical instruments poorly for decades and we do it this way for a Nazi plan. a little history. Before getting into conspiratorial arenas, it is necessary to remember some history. Today perhaps we are accustomed to (almost) all musicians and orchestras are tuned the same, which basically means that all the “a” notes (do, re, mi… or any other) sound the same; but it has not always been like this. James Felton of IFL Science remember that centuries ago players were in fact accustomed to local variations in tuning. What’s more, a composer could lean towards an “a” at 423 hertz and another at 422. It is not a minor nuance because the hertz indicates the speed of vibration, which in practice affects how high or low the sound that reaches us is. “If we take Germany before 1600 as an example, organ pitch is believed to have varied between a maximum of A=567 Hz for the early simple pipe organs of the Middle Ages and a minimum of 377 for the early modern German organs of around 1511,” explains Lynn Cavanagh in a paper about the matter. What if we set a standard? That is the idea that was making its way among music professionals. Why not set a single standard that guarantees that an “la” is tuned the same (in hertz) in one country as in another, meaning that the same song will sound the same no matter who or where it is performed? This effort to unify can go back at least to late 19th centurywhen the Music Commission of the Government of Italy bet for all orchestras to use a 440 Hz tuning fork. The debate was not settled, however, and it would be decades before musicians reached a consensus. Without going any further, France and Austria advocated 435 and some composer did it for 432. In 1917 the American Federation of Musicians support the italian position, in 1939 A world conference organized by the British Standards Institute made a similar recommendation and already in the 1950s an international agreement was reached so that the “A” note on pianos would be tuned to 440 Hz. The objective: that the same key would sound exactly the same whether it was pressed in Spain or in Canada, India or the United States. The decision was endorsed decades later, in the 70s. Matter settled? Not at all. And not only because there are musicians who choose to other tunings or even certain orchestras bet on solutions alternatives, such as A-436 hz. Some conspiracy lovers have found in this global commitment to 440 hertz material to feed a theory that combines the Nazis, the effect of music on our health and a delirious experiment for the mind control. There are those who even put into the equation to the Rockefellerthe Great Pyramid of Egypt, Stonehenge, the Sun and the Moon or the Sri Yantra. Curling (even more) the curl. To better understand the phenomenon, it is good to take a look at an article published in 2021 by Reuters Fact Check. In it the news agency echoes the hoax and dismantles it point by point speaking with academics. Before, he cites verbatim one of the network publications that defend the theory, a unique opportunity to learn about his argument: “Did you know that Jimi Hendrix, along with John Lennon, Bob Marley and Prince, tuned their music to a specific frequency of 432 hertz? It is known as the ‘heartbeat of the Earth’, it has important healing benefits and ancient Egyptian and Greek instruments have been found tuned to 432. However, since 1953 all music has been tuned to 440. This frequency has no scientific relationship with our universe and, in fact, causes turmoil. “The Nazis used it in World War II against their enemies to make them feel and think a certain way.” Is it an isolated theory? No. In fact, a quick Google search can find a good number of articles that they collect the theory of one way or anotherwith variations. After all, if there is one thing about conspiracy theories, it is that they are not usually standardized, just like musical tuning was centuries ago. They read statements such as that the Rockefeller Foundation promoted the 440 Hz standard as part of a supposed “war against conscience”that one of the great supporters The change was the Nazi minister Joseph Goebbels, who saw in 440 Hz a way to distort consciousness, or that tuning at 432 hertz is much better for humans because “reflects the proportions” of the Sun, the Earth and the Moon, among other things. As a test They show the patterns of water when it is vibrated with a 432 Hz sound. “They have no empirical basis”. Although there are strong supporters of those ideas and that we would all be much better off if we listened to our music tuned to 432 Hz, his statements raise the eyebrows of experts. And that at least. “There is no … Read more

When the Nazis occupied an island on the Channel of La Manchas they met an unexpected enemy: an indecipherable language

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The enemies sometimes appear for the most unsuspected places. That is what the German soldiers who occupied the Canal Islandson the Canal de la Mancha. The campaign promised them happy and in fact it extended for several years, but shortly after putting the first foot on the island of Jersey the Nazi officers realized that they would have to deal with an unexpected enemy: a language that they did not understand their interpreters. And that was a luck for the locals. In a place on the Channel of La Mancha … It is found Jerseythe largest of the islands of the Canal, an archipelago located very close to the French coast but is administratively linked to London. In fact they are considered British crown dependenciesautonomous, self -governor territories and that strictly are not part of the United Kingdom, but they are linked to their crown. It is estimated that in 2001 a few resided in the archipelago 150,000 people distributed in Two dancers: Guersey’s and Jersey, where they live more than 100,000. An island, its own language. Jersey not only stands out for his geography, status and history. It also does it at the linguistic level: on the island you speak English, French … and The sweater (Jèrriais), a tongue related to The Normand and, They claim The island authorities, have a rich history of more than a thousand years. His first written record dates in fact the 12th century, with The poet Waceand on the island presume of its literary legacy of the late eighteenth century. The sweater He caught his attention Even from the prestigious French writer Víctor Hugo, who rescued one of his words, Pieuvre (octopus) in your novel ‘The sea workers’of 1866. “A Language of Peasants”. The history of the Jersejés is not exactly simple. Despite his age and the enormous roots he has had on the island, there was a time in which he considered a vulgar and stigmatized language, which has irremediably marked his base of speakers. “In 40 and 50 if you went to school the Jerseyés was prohibited. It was considered a language of peasants, spoken only by poor people. That was the attitude of all teachers, even those who spoke Jerseyes,” He recounts To the BBC François Le Maistre, a almost 90 -year -old man who explains that in his home, as a child, only the island language was used. … And a weapon in front of the Nazis. Interestingly and despite his stigmatization, the sweater played a relevant role during World War II. The Canal Islands hold the sad honor of being the only “British” islands that endured the occupation of German troops during World War II. The Nazis came to Jersey between June and July 1940 (with The battle of England as a backdrop) and remained in the archipelago until May 1945. The authorities evacuated 30,000 people From the Canal Islands before the arrival of the Germans, but even so when Führer’s troops landed in Jersey they met thousands of locals (the archipelago added in total 104,000 residents) With a disturbing peculiarity, especially for the Nazis: they spoke a seemingly unintelligible language, even for the Francophone Germans. Not even the collaborative interpreters understood at all. What devils are they saying? “The articles in Jerseyes published at the beginning of the occupation managed to transmit messages of resistance”, Point out to the BBC Geraint Jennings chain, linguist and expert in the island language. “The texts openly said that it was better to speak Jerseés so that ‘certain people’ could not understand it, that is, the Germans! Of course they soon realized and took drastic measures with censorship, but the sweater continued to be used as a secret language to transmit messages during the rest of the contest.” In the island’s passive resistance strategy, that language related to Normando became a valuable piece. Its complexity, even for the ears of the German soldiers who spoke French or the collaborative performers, made the Jerseés a key tool to exchange information, draw clandestine plans or even, remember The English chain, mock of the Nazis. “Everyone spoke”. “During those years everyone spoke Jerseyes simply because, unfortunately of the Germans, it was not possible for them to understand our language,” remember I maistre. Perhaps it sounds strange, but it is that within the jersey itself different dialect varieties of the language were used: despite the fact that the island is small, a good part of the islanders were related to their own communities, which favored surprising wealth of expressions, words and even accents, distinctive marks of groups of speakers. On other channel islands, such as Guerneey, Sark and Alderney They also had their own languages, some already disappeared. A dream for linguists, a nightmare for German soldiers who walked through Jersey. A tongue in retreat. That does not mean that the sweater was immune to war. His starting point was already delicate. Although in the 30s the mother tongue of most people born on the island remained, it was minorized and stigmatized. To that was added “the great social rupture” that, Jennings lamentscaused the German occupation: families evacuated to England with their children ended up adopting English as the main language, the same that happened to the islanders who enrolled in the Armed Forces and then returned home. This rupture is added that tourism and the island’s financial sector, key pieces in its economy, They contributed to boost English as a communication vehicle. And what is the situation now? Complicated. There are reasons for optimism, but also for concern. In recent years the language has managed to claim, with institutions expressly dedicated to its promotion and greater sensitivity on the part of local institutions. In February 2019 in fact the island authorities They declared it COOFICIAL LANGUAGE IN THE ASSEMBLY WITH ENGLISH AND FRENCH. Who today lands at the island’s airfield is also with a message that welcomes him in the language: “Seyiz Les Beinv’nus à Jerri”. That is the positive part. The refusal … Read more

When the British wanted to terrorize the Nazis during World War II, they chose a peculiar weapon: pump rats

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Think about the Second World War is to think of large -scale battles, tremendous operations and epic skirmishes. And, although it is true that there were imposing deeds, we are also tremendously influenced by cinema and video games. Because doing one spy movie or a ‘Save Soldier Ryan‘is’ easy’, but … and one above the inflatable tanks or of pigeons piloting missiles? That is more complicated. Because, In a moment of despaireverything goes. And if the Americans gave them to devise a bomb -loaded bomb To set the Japanese houses, the British be occurred Something that looks like a joke, but that made a lot of sense: filling rats with plastic explosive and waiting to be triggered in Nazis facilities. The Germans They were caught at firstbut far from being a fudge, it turns out that discovering the pump rats was what made the operation a success. Exploding Kittens Rats 1941 was a key year in the Second World War. The Nazis gave the green light to the invasion of the Soviet Union, the Japanese attacked Pearl Harbor, the United States entered the war officially and began the Mass deportation of Jews to the extermination fields. There were too many open fronts and the war had just become a global phenomenon, but the British wore years fighting the Nazis. The first quarter was crazy, with bombings of the British to German possessions and intense German bombings in English territory, attacking cities such as Liverpool, Manchester, Birmingham and, above allLondon, who for almost two months He suffered night bombings. Apart from in the air, the war was fought on land, and one of the plans of British intelligence revolved around the industrial sabotage. Damaging the factories, Germany would lose war power, it is evident. Thus, the British Special Operations Office, or SOE for its acronym in English, devised a strategy which would consist in wasteing pump rats near German infrastructure. They would not put a “backpack” pump to the rat and leave it free out there, no: the plan It consisted In getting dead rats, open them on the channel, empty them, fill them with plastic explosive, place a detonator that would come out for what would be the anus and strategically locate each animal near the boilers of the factories and key buildings of the Nazis. The goal? That when a worker found a rat, he directly threw it into that boiler, turning on the wick and causing the structure to fly through the air, interrupting the Nazi war machine. That said, the truth is that it was a brilliant plan because it was easy to think that workers would not bury the animal or throw it out there, since it could spread diseases, that cremation in the boiler being as fast. And they got with a hundred of them. There was a problem: the Nazis intercepted the first sending of explosive rats before they were deployed. Far from thinking that the plan failed, it turns out that The caught was much more effective that what they could have achieved if the rats had managed to be thrown into the boilers. And the reason is obvious: the Nazis, when discovering the Artimañathey wondered how many explosive rats before that interception they could have placed the British. That sowed a more explosive doubt than the rat itself because the Nazis launched campaigns to search for similar devices and, if they found a dead rat, began to tremble. Would it be a rat or a pump? Although any exploded, the operation was never considered a psychological success for the general paranoia that caused in the German ranks. The possibility of such unconventional sabotage forced the Nazis to divert resources to counteract similar threats. In the official SOE archives, they detail that the device “caused considerable problems to the enemy, but not quite in the way it was intended.” In the end, it was an effective form of psychological war because there were Germans trying to counteract a non -existent threat. As concluded Soe himself, “the problem that rats caused to the Nazis was a much greater success for us than if the rats had really been used.” Today is an anecdote or an object of collecting, like the main image rat, sold In 2017 for more than $ 1,800. Also as a much less crazy idea than those of those pilot pigeons … or that of the incendiary bats. Images | Charles Merrell, The National Archives, Bonhams In Xataka | 80 years ago the US threw a bomb in Japan that nobody agreed again. He has just exploded at an airport

80 years ago Peugeot already had an electric car. One that was born in World War II and to which the Nazis killed

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World War II left a razed Germany that needed to rebuild from 1945. With the support of the ally capitalist bloc, German growth was fast and for years it moved in spectacular figures. In spite of everything, there was an entire society that had to recover his life and get out of poverty caused by war. They say that despite that panorama, Ferdinand Porsche saw the opportunity to throw a car that nobody thought: A sports. Yes, most of the society was immersed in a reconstruction but there was also an elite that He continued to demand the luxuries of yesteryear. Putting a sports car on the market was imperative to resurrect Porsche and, at the same time, allowed a part of society to distinguish against the rest. In Motor journalism They collect that the company’s mandamás stressed what the guidelines should be. Liberated from every position in 1948 (he had been arrested in France in 1945 and accused of collaborating with the Nazi regime), they say he mentioned the following words: “At that moment I looked around and I didn’t find the car I dreamed, so I decided to build it myself“ That car was the Porsche 356, which gave wings again to the company. In those years, Germany was focused on rebuilding and was more evident than ever the saving philosophy of its citizens. Protestantism and difficulties During and after World War II they had defined the character of the Germans. Despite this, Ferdinand Porsche decided that the time had come to launch a car that would be iconic: the Porsche 911. A sports car that threatened all German austerity. It was the culmination of reconstruction after World War II. When you think about war, you also have to think about the reconstruction. Ferdinand Porsche began to shuffle what they should do once it was already imperative. But in Peugeot they already started thinking about her, even before the contest had ended. They were moments of reflection and trying to understand how we were going to live once the greatest war in the history of Europe would end. And the French were clear that something should change in our way of moving. So, they presented the Peugeot VLV. Yes, the first completely electric Peugeot. Thinking about the future When in the mid -twentieth century a World War relieves another there is a problem: fuel is scarce. And if the fuel is scarce, perhaps the time has come to go to the electric car. Aware that autonomy was scarce but some needs were imperious, Peugeot proposed in 1941 An electric car as a vehicle for medical emergency services, pharmacy personnel or emails. It was, in reality, an option cut from the Peugeot 201 from which it derived. In this case, they had cut the back to make a kind of convertible with canvas hood. But, without a doubt, the most curious part was the rear, with two small wheels that, not to make sure they are there, make the car more a tricycle than a four -wheel car. The motorization that moved the Peugeot VLV was born a few years before. Already in the 20s they began to turn the idea that ended up seeing the light with a 12 V engine that delivered 3.3 hp. With them he managed to reach a maximum of 36 km/hy with a battery that consisted of four packages could travel a maximum of 80 kilometers. The figures, in fact, seem particularly good for the time. The secret was in a body manufactured in aluminum that guaranteed a very contained weight. The Peugeot VLV stayed at 365 kg. A prodigy that used a marketing strategy of our time. The classic Leon that has always accompanied Peugeot was replaced by a ray on the front. However, his life was brief. As soon as 377 units were built before Vichy’s collaborative government ordered the end of its production in 1943. The official discourse He pointed out that money should not be dedicated to the research and development of vehicles that were not purely essential. If you want to see a unit, the Peugeot Adventure Museum In Sochaux (France) there is a restored one. Photo | Peugeot and La Adventura de Peugeot Museum In Xataka | The clash that changed everything: how a Peugeot 205 GTI inspired a world revolution in road safety

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