as The Garden of Allah (1936), Gone with the Wind (1939) and Disney's Snow White and the Seven Dwarfs (1937) made him realize that Hollywood feature films presented a threat to Germany's internal market, and that Hollywood's dominance of color film technology should be matched, at least if Germany was serious about engaging in a cultural war with the US and Britain. Women Are Better Diplomats It was not until the beginning of principal photography for Women Are Better Diplomats (German: Frauen sind doch bessere Diplomaten) a 1939 musical starring the singer/dancer Marika Rökk and actor Willy Fritsch that Agfacolor was used for a major motion picture. The use of Agfacolor was reinforced by the top of the Nazi film industry, Reichsminister Joseph Goebbels, and the executives at UFA eventually gave in to his pressure. Agfacolor was then used throughout the entire film shoot of Women Are Better Diplomats. Throughout the shoot, the film yielded mixed results as it was still very sensitive to different color temperatures caused by solar altitude at different times of day. Thus, outdoor shots were difficult to handle: A lawn in front of a castle appeared completely yellow, later brown, then bluish. The technology was not fully developed, and Agfa labs were virtually using the shooting of the film as testing grounds for their new stock, continually changing the formula throughout the shoot based upon unsatisfactory results, so that entire scenes had to be repeated once a new formula was being tested. Meanwhile the production costs had risen from . More than two years after its start date, Women Are Better Diplomats opened in October 1941. Despite its rather weak color quality, the film proved to be a major hit, earning more than by the end of the war. The Golden City After the process's growing pains had been overcome throughout the production of Women Are Better Diplomats, the following Agfacolor movies were shot and printed much quicker and with better results. The technology was improved at a rapid pace. Veit Harlan was allowed to shoot his next picture in Agfacolor. Between the summers of 1941 and 1942, Veit Harlan finished Die goldene Stadt (Eng: The Golden City), a dreamy propaganda fairytale starring his wife Kristina Söderbaum as a young, innocent country girl who comes to the golden city of Prague and is seduced by an unscrupulous gigolo. The Golden City premièred at the Venice