Jud Süß

"Jud Süß" is overall a well-made, sometimes brilliant, occasionally hammy, movie. It's plausible that it served its intended function, to promote antisemitism, beautifully in its time. The movie came out in 1940, about one year after the beginning of the war, about five years after the Nuremberg race laws, and about two years before the Wannsee Conference. Considering the enormous, fanatical hatred of the Nazis against jews, the movie's antisemitism comes across as surprisingly subtle. Flanked by the occasional antisemitic outburst ("There are no hostels for jews in Stuttgart") the movie builds a convincing psychogram of a perpetrator and leaves all its great performances to its antiheroes, while the good guys come across as pale, square and boring.

The movie is surprising in many aspects and allows perplexing insights into the Nazi mindframe. The faulty emperor (played by Heinrich George) is described as fat, vain and sybaritic (in his fantasy uniform he's the spitting image of Goering) and also as a militarist and a megalomaniac, who has lost contact with the needs of his people (Hitler comes to mind). When Süss is eventually hanged, he comes across not so much as a monster but as the scapegoat that Wilhelm Hauff, the author of the original novella, described him as.

OK folks, "The Jolson Story" it certainly ain't but as propaganda films go, this one is not that bad. 60 years down the road, there can be no justification for putting this film on the banned list anymore. The film had a message to give to the German people of 1940 and was successful in that respect, but surely we have all moved on now. The final scene in "Jud Suss" should have todays audiences in fits of laughter. I am surprised that Mel Brooks hasn't done a remake of Jud Suss. Find a copy if you can and that isn't too difficult despite attempts to prevent the film being issued,and sit down with a nice box of chocolates a stiff gin and tonic and enjoy. Jud Suss certainly beats walking in the rain after all!

This baroque melodrama is the perfect Halloween flick. To watch Jud Suss is to enter an alternative universe in which Hitler had invaded Russia 6 weeks earlier, won the war, and we were all watching a different type of movie. The level of political incorrectness is horrifying. The film was the top grossing film in Germany in 1940 during a period when Germany actually had a popular film industry. It is one of about 30 films (Vorbehaltsfilme) you could be arrested in Germany for possessing. (So far it has not shown up on popular film file sharing networks). Academics may view these Vorbehaltsfilmes in private viewing sessions and film festivals. Others are subjected to home invasions by the police. The final word regarding the film would have to be the chapter Eric Rentschler devotes to it in his masterpiece, The Ministry of Illusion. There is no official list of proscribed titles (Vorbehaltsfilme)because as Rentschler puts it, "Such a list would only demonstrate that the German government considers the populace of its democracy in crucial ways politically immature" (p. 221)Many of the movies Rentschler devotes chapters to are hard to find.

All past comments about this notorious film have been proved correct: it IS rancid, fetid, despicable. The reasons why this film was made are equally above-board: Nazi Germany's number one goal was to descredit Jews the world over by propanganda so vile as to make the average person denounce Jews as vermin to be exterminated. It is said that when _Jud Suess_ was shown, crowds of people would set themselves wildly on Jews in the streets. That Veit Harlan, who as an actor and artist always showed a certain elegance, should have anything to do with this film (and as the director he had quite a lot to do with it), is amazing. One cannot forget that being assigned films had more to do with commands than with choice; nevertheless, he should have been leery of the project that was said to vie with _Der Ewige Jude_ as the start of the campaign of racial genocide.

A final tip when viewing _Jud Suess_: Pay close attention to Ferdinand Marian's diabolical portrayal of Suess Oppenheimer. In mannerisms, the easy refinity, the worldliness, the dropping of a bon mot, the wily insouciance of the "Jew" of yesteryears' imagination; it is all caught on celluloid Agfa film. Ferdinand Marian later committed suicide, said to be because of his remorse about his "greatest" acting role.

From his opening scene of ringed fingers running greedily over gems and jewels to his pathetic cries for salvation at his hanging, the "historically accurate" portrayal of Court Jew Suss Oppenheimer is a brilliant work of film-propaganda and an eye-opening understanding of the Nazi perspective. Except for the slobbery and entranced German Duke – caught under Oppenheimer's spell – Germans come across as a clean, clean shaven, proud, culturally profound and subjugated people, oppressed by Oppenheimer's avaricious rule and his grant of Jews into Württemberg. The classic elements of predator and prey, people versus government, (and occasionally at the expense of art) good against evil are employed to paint a masterpiece of propaganda, layering Oppenheimer and the Jewish people with every conceivable ingredient of wickedness.

The film shows little patience (though not without artfulness) with portraying Oppenheimer as a devious Jew, giving up even his "despicable values" (shaving his beard) for his gluttonous ambitions. Through a short dialogue with a fellow Jew, it is clear that Oppenheimer is a clever character, adept with human manipulation and ready with some soothing and sly words for a quick fix in a tricky situation. He thus wins over the Duke by giving him what the Estate could not. From the soft, young flesh of the Württemberg women, to absolute power, Oppenheimer is always ready to provide the Duke all his evil desires. It is interesting to note that the film depicted the Duke as a skuzzy individual from the beginning, and did not show (what could have been) the gradual degenerative effect of Oppenheimer on him. This might have been done to maintain a sense of realism and integrity of the film's art, or .

"How can we ever defeat the Jew? He is so much cleverer than us."

"He is not cleverer, only more cunning."

This exchange between two German citizens, living under Oppenheimer's oppressive rule, reveals a common fear and sentiment shared by most Germans at the time. The Jews were thought to be anything but an unintelligent race, rather it was their cunning and desire to fulfill their "Lord's will" and "rule (the world) in secret," as the hunchbacked rabbi told Oppenheimer, is what truly frightened the Germans. Levi, Oppenheimer's right hand man, at times, even annoys Oppenheimer with his hyper-Jewish mores. His beady eyes, beard, side curls, black dress, and scratchy voice make him a freakish and chilling character, waiting to foil the fight of the Estate's citizens with his Talmudic logic and biting wit. Memorable images include Levi, eyes wide open, violently rubbing his ink-stained hands together while plotting the downfall of those against Oppenheimer, and Levi and Oppenheimer eavesdropping on a conversation behind a wall, surrounded by rats and insects. Beyond the murky physical images hanging over the Jews, Jude Suss brings a compelling psychological aspect into play, being careful to inform German viewers of Jew's parasitical nature, natural propensity towards evil and metropolitan sophistication, the near nihilistic forgoing of values from days gone by.

In most of the scenes filled with German characters, booming symphonies filter through the images filling them with grandeur. Contrasting this is Oppenheimer's introduction, a smart but stale dialogue between two conspirators, without any music at all. Music also plays an important role with the unison between Faber and Dorthea, two young lovers growing up while Oppenheimer is in power. Their love duets evoke nostalgia and even an innocence of long ago, or, life before the Jew. This is a direct mirror of Volkist philosophy, and the absence of pretty music in Jew occupied scenes is a powerful ignition to the subconscious.

Jude Suss climaxes to Faber's torture, Dorthea's rape and drowning, the death of the Duke, arrest of Oppenheimer and his hanging. The last moments of film are enwrapped in a slow snow fall focusing in on Faber's sorrow as a representation of the Jewish consequence. Although Oppenheimer is hanged and the Jews are forced to leave Württemberg, the director manages to inject the nagging question of "what if," into his audience. What if Oppenheimer was never let into Württemberg to begin with? What if the Estate had acted faster and seized control of Oppenheimer's power before it was too late? What if the Germans of 1940, longing for a land of language, culture and time before the imprisoning Judeo-Christian ideology, annihilated the Jewish race and lived the life they dreamed of?