Abstract: The word "revue," in a more general sense "review," very rapidly began to take on a specific connotation, that of a military troop inspection or parade, before such secondary meanings as "stage show" or journal title evolved. The revue film of the Third Reich whose ideology fetishized the question of origins anyway could claim the merit of having Germanicized this etymology in a radical way. The revue film shows the civilian troops on parade, often garbed in uniforms and usually choreographed as a costumed cadence march. The fact that "girls"* are on parade in these uniforms may heighten the erotic appeal, but actually degrades it through the very massive deindividualization of those girls. The director, or "play leader," as he was called at the time, inspects the revue girls as representatives of the female reserve army, who hold up the homefront even as the warfront of male armies is collapsing. The revue films are the military parade of the Propaganda Ministry, its prime examples of peak productive capacity and at the same time peak receptive intensity, much more so than even the "Films of the Nation" series, from Heimkehr to Kolberg, which carry more overtly political intentions. Up to the year 1914, according to the entry under "Revue" in the encyclopedic Meyers Lexikon, non-commissioned officers were presented with one Mark for participating in parade reviews before supreme commanders, whereas the enlisted ranks received five Pfennigs; only then does Meyers go on to define revue as a type of presentation offered by the entertainment industry, specifically a "musical-dramatic theater piece derived loosely from sensational events (of the day) and staged with grandiose props and costumes."' For the revue gifts doled out by the supreme commander beginning in 1939, the Reich