I have not yet been to see
Expelled - I'm now planning to go tomorrow. On Sunday, we went to see
The Rape of Europa instead, because I'm the sort of man who listens when his wife says: "you know, you could just go see that other film on your own..." It's not going to be her cup of tea, and she feels no love for Ben Stein or the Disco Institute crowd which otherwise might compel her to go. However, having seen the really quite excellent
Rape of Europa, a few things have struck me in the comparison that I thought worth sharing.
First, I will state here and now that this is not my area of expertise in history, so if I get something expressly wrong, I apologise and will correct it when I'm made aware of any error. What is clear from the reading that I have done is that any claim that Darwin's theory led to any subsequent brutal, totalitarian régime had better be backed by some truly staggering evidence, and not merely the wishful thinking of film producers and the credulous gullibility of some cinema-goers.

Regarding these two films, what emerges clearly from
Europa is, first, that the National Socialists in Germany of the 1920s and 1930s were as much interested in personal gain as anything else. This is attested by the vast art collection of Hermann Göring, and the grandiosity of Hitler's schemes for the rebuilding of Linz, his home town in Austria, as an imperial city, to be dedicated to the memory of Hitler himself and the cultural designs of the Third Reich. What clearly emerges, on the other hand, from
Expelled: No Intelligence Allowed? Very little, apart from the somewhat obvious suggestion that the film title chosen by Premise Media, and Stein & Co., may in fact be self-fulfilling prophecy.
Despite not having seen Expelled yet (and that review will come after viewing it tomorrow), I've read an awful lot of the coverage about it, and I've seen a lot of awful trailers. And one thing that is very clear to me is this: the producers of this film are clearly intent on trying to compare a tested, predictive, and dare I say it, elegant scientific theory with... well, since it doesn't agree with their world view, what's the very worst thing that they can think of? Oh, yes, right. Germany under the Nazis. The massacres of Soviet civilians and the police state that engulfed the Soviet Union. In short, the worst things done by human beings to other human beings under the dubious guises of "progress", "nationalism", "idealism"... better lay those all at Darwin's door. Which is a childishly simple fallacy - it's a simple argument for simple minds.
In
The Rape of EuropaHitler and the Nazi inner circle are portrayed as taking a very close interest in the arts and culture as a method by which to strengthen the bonds of unity which held wartime Germany together. At one point, the Fuhrer is depicted listening to a rehearsal of Wagner's
Das Niebelungenlied at the Nüremburg Festival, and it is popularly accepted, at least, that Richard Wagner was the composer
par excellence favoured officially by the Reich. Also pointed out in
Europa is a possible motivation for Hitler's distaste for the Jews - the fact that Hitler was excluded from a place in the Academy of Fine Arts in Vienna by a panel of judges (who are called "mostly of Jewish extraction" in the film), who determined that his paintings were less than accomplished (as a side note, I find it interesting that both Hitler and another leader during the Second World War, Winston Churchill, were both painters, the difference being, it seems, that while Churchill's watercolours were printed in book form and can probably still be purchased today, Hitler's lie concealed in a museum, and will probably never be exhibited in view of potential public reaction). Hitler's envy of the exemplars of the artistic trends of the day led him to develop his own view of the "inferiority" of the "barbaric" art created by artists ranging from
Egon Schiele to
Vassily Kandinsky, and this envy was to be key to events that happened on the arts scene in a Germany increasingly drawn to war.

The national art propagated by Hitler in place of the speculative daubings and experiments of the modern art movement was very single minded in its focus. It was neo-Classical German, with an emphasis on the mythology which the Nazis were trying to build, of a single, superior, Germanic "master race". Other forms, newer, modern forms, were at the same time declared barbaric and valueless, and many were sold from Germany's national collections at fire-sale prices. Many more were simply subjected to fire, and much of Germany's modern artistic inheritance was simply burned for being "modern", "Slavic", or "Jewish". In the view of the Reich, though, the Jews were still useful for what they owned and accumulated, and the film recounts that often, it was possible for individual freedom to be bought for the price of a desirable piece of art; at least, this appears to have been true in the early days of the Reich. What does that say, therefore, about the "racial purification" imperatives of the Reich, "influenced by Darwinism"? It says nothing, other than that individuals were, as ever, corruptible and susceptible to their own greed.
Moreover, as the German army swept into the Netherlands, northern France, Poland, Italy, and Russia, a list of desired works of art was kept, guiding special units within the German army to those pieces desired for the eventual German National Museum of Art - something akin to the Louvre (and, if we're being honest, accumulated as spoils of war, in much the same way as the basis of the Louvre's collection). After the war, a limited number of American "monuments men", soldiers with knowledge of and background in art, were tasked with trying to put the collections back together, and unearthing secret Nazi caches of paintings. Some have yet to be recovered. In the case of the Louvre, the entire collection was packed and removed from Paris. The Hermitage was not so lucky, but still managed to save much of its priceless collection of Russian art.
It is hard, watching a film like The Rape of Europa, to conceive of something so grandiose and twisted. The question about the motives and actions of the Germans, after all else therefore becomes that of "why?", and it's not my place or intent to answer that here, except to suggest, very forcefully, that none of their motivations could be attributed to anything that seem even remotely Darwinian. This was yet another manifestation of the old prejudices which dated back to the earliest forced migrations of the European Jewry in the early Middle Ages. It was a manifestation of the thousands of threads of political and social, and yes, scientific thought which occupied the intellectual landscape of Germany after the Great War. But to put sole blame, or to endeavour to place the sole blame at Darwin's door is not only disingenuous, it is an outright lie.
In The Rape of Europa, we have a fascinating and sympathetic account of survivors of the war, told from the perspective of survivors, art historians, and the descendants of those who lost everything to flee with their very lives. In the midst of so much destruction, the fact that nations put the drive for art restitution at the top of their list says something positive about the human race, something unexpected. This is a film that you should see, with a story that you should know. To my mind, the Darwinian approach to evolutionary biology does much the same thing: it uplifts, it says this: "You are a product of the survival of genes expressed through random mutation. Your body is the product of materials which began their existence in the deaths of stars that shone long before the planet on which you stand ever formed. You are something special indeed." All the best of human experience, and all the worst, can be illuminated by the light shed on the mysteries of life by Darwin and his "dangerous idea".
That is not to say that it is patently impossible for there to have been any influence of Darwin's ideas on the thinking of the twisted minds behind the Reich. However, it seems quite clear that those ideas, Darwin's conception of the "struggle for existence" and the accretion of chance variation over time eventually yielding new species had nothing to do with what the Reich set in motion, with regard to the Gypsies, the Slavs, the Jews, or the mentally ill and physically handicapped, or indeed to their own political enemies, who were the first to be purged in the early 1930s, and all of whom suffered at the hands of Nazi Germany. From historian Richard J. Evans' magisterial book, The Coming of the Third Reich, I would direct attention to this quote:
"Borrowing ecclectically from Nietzsche, Langbehn, Darwin, Treitschke and other writers, and frequently vulgarizing heir ideas in the process, wrenching them out of context, or simplifying them to the point of unrecognizability, the Pan-Germans and their nationalist allies founded their ideology on a world-view that had struggle, conflict, 'Aryan' ethnic superiority, anti-semitism and the will to power as its core beliefs."
-- The Coming of the Third Reich, p. 48
Clearly, the justifications and rationalisations for purges and persecutions of human populations at any point in history have less to do with intellectual motives, which are always muddled, simplified, or non-sensical, and more to do with the political expediency required by a state. That much is as true today as it was eighty years ago.
I would also draw attention to Evans' section from the closing pages of the book, which I think merits being quoted in its entirety:
"The death of democracy in Germany was part of a much broader European pattern in the interwar years; but it also had very specific roots in German history and drew on ideas that were part of a very specific German tradition. German nationalism, the Pan-German vision of the completion through conquest in war of Bismarck's unfinished work of bringing all Germans together in a single state, the conviction of the superiority of the Aryan race and the threat posed to it by the Jews, the belief in eugenic planning and racial hygiene, the military ideal of a society clad in uniform, regimented, obedient and ready for battle - all this and much more that came to fruition in 1933 drew on ideas that had been circulating in Germany since the last quarter of the nineteenth century. Some of these ideas, in turn, had their roots in other countries or were shared by significant thinkers within them - the racism of Gobineau, the anticlericalism of Schönerer, the paganist fantasies of Lanz von Liebenfels, the pseudo-scientific population policies of Darwin's disciples in many countries, and much more. But they came together in German in a uniquely poisonous mixture, rendered all the more potent by Germany's pre-eminent position as the most advanced and most powerful state on the European Continent. In the years following the appointment of Hitler as Reich Chancellor, the rest of Europe, and the world, would learn just how poisonous that mixture could be."
-- The Coming of the Third Reich, p. 450-1
If proper historians can see pseudo-science for what it is, and recognise that the thoughts and faults and blatant stupidities of people claiming to follow in the footsteps of a great thinker, then certainly lesser historians should be able to do this as well, never mind members of the public at large. At the end of the day, you can say all that you like that it smacks of Darwin, but if you say that, it appears to me that you're revealing your ignorance not only of what Darwin said, but of what has been built on that framework since he said it.
So if you don't like evolutionary thought, if you shy away from the notion of common descent, that's certainly your individual privilege. But your individual biases and neuroses, your desire to equate it with the
worst things in 20th century history, never mind that your understanding of those events probably derives from something of as modest a level of sophistication as
a wartime Bugs Bunny cartoon - those views are not simply suspect, they are demonstrably false.