[86], In the first few years after the war, Kristina Söderbaum was often heckled off the stage and even suffered the indignity of having rotten vegetables thrown at her. In the 2000s, two documentary films and a drama were released that explore the history and impact of this movie. [61] His consummate skills in characterization had earned him the title of "the man with a thousand faces". Die Tagebücher von Joseph Goebbels Teil I: Aufzeichnungen 1923-1941, "The Demonic Effect": Veit Harlan's Use of Jewish Extras in Jud Süss (1940) Susan Tegel University of HertfordshireThe German Propaganda Archive. [interrupts and shouts]... and I am Joseph Goebbels. After a lengthy investigation, it was determined that another negative existed in East Germany and it was used it to make prints that were dubbed in Arabic and distributed in Middle Eastern countries such as Egypt and Lebanon. YouTube description: The movie was directed by Veit Harlan, who wrote the screenplay with Eberhard Wolfgang Möller and Ludwig Metzger, and starred Ferdinand Marian and Harlan’s wife Kristina Söderbaum. [101], Joseph Süß Oppenheimer did serve Duke Karl Alexander as a court Jew. According to David Welch, the Nazis issued a guide to the press explaining how to interpret the film. Jud Süß (pronounced [juːt zyːs], "Süss the Jew")[1] is a 1940 Nazi German historical drama propaganda film produced by Terra Film at the behest of Joseph Goebbels. But it wasn't until Goebbels saw the British film-adaptation did he realized the anti-Semitic potential the material had, if interpreted not as a human tragedy, but as a tale of Jewish arrogance and infiltration. [92] Sale of the DVD is also prohibited in France and Italy. Harlan reported that Goebbels accused him of being "incapable of thinking in political terms". "Judas" is NOW available everywhere for streaming + download! Gründgens declined, citing his responsibilities as director of the Prussian State Theatre. [79] During the war the movie was never screened in public in Sweden, although the German embassy arranged screenings for special invitees. For example, the "documentary film" Der Ewige Jude (The Eternal Jew) that Hitler commissioned was so crude and strident that many audiences were repelled by the grotesque imagery and the film was a box-office flop. "[66] For the final execution scene, Harlan had written a defiant speech in which Süß condemned the German authorities. Röder is the leader. He established a duchy monopoly on the trade of salt, leather, tobacco, and liquor and founded a bank and porcelain factory. Süss transforms Württemberg into a land "flowing with milk and honey.". Feuchtwanger himself referred to Harlan's film as a "Schandwerk" ("a shameful work") and wrote an open letter to seven Berlin actors, two of them having played lead roles in the film. Süß is executed, pleading to the last that he was nothing more than a "faithful servant" of the late Duke. Süß argues that he would be most effective if the Duke were to give him a letter granting him immunity from the laws of Württemberg. He further called into question their motives for making the film in light of their familiarity with him and his novel. Faber is accused of treason. "[21], Daniel Azuelos ascribes the cast's reluctance to an unwillingness to be typecast as Jews. In an interview with Der Film given before the release of the film, Harlan pointed out that Süß was ultimately sentenced to death not for his financial machinations which were technically legal but for violating an ancient law which prohibited Jews from having sexual relations with Christian women. Kristallnacht was considered by Hitler to have been a political disaster both within Germany and internationally, and he became furious with Goebbels. First Harper Perennial 2008, Copyright: Carmelo Lisciotto H.E.A.R.T  2008. Be the first one to write a review. "[22], According to Richard Levy, "Of the 1,100 feature films produced under the Nazis, only a handful demonstrated explicit antisemitic content and even there, the antisemitism was often secondary to the film's plot. [25], Although Lion Feuchtwanger believed that Harlan's film relied heavily on his novel,[102] Bergfelder and Cargnelli characterize the film as "based primarily on Wilhelm Hauff's novella" and assert that it only uses a few characters from Feuchtwanger's novel. Ian Wallace, Feuchtwanger-Studien 1, London: Lang, 2009, pp. As a Jew, Feuchtwanger did not intend his portrayal of Süß to be antisemitic but rather as a study of the tragedy caused by the human weaknesses of greed, pride, and ambition. To remedy the script's deficiencies, Goebbels assigned playwright Eberhard Wolfgang Möller to assist Metzger, even though Möller had no experience as a screenwriter. German-born American director, Lothar Mendes directed a British film adaptation of the novel in 1934. When Marian responded "But that was Shakespeare, Herr Minister! [17] As his carriage is involved in an accident, Süß gains a lift from Dorothea Sturm (Kristina Söderbaum) to the city. Heinrich George was active in the Communist party before the Nazi takeover. On September 30,1940 Reichsführer SS, Heinrich Himmler, ordered all SS and police members to see the film during the coming winter. From that point onwards, George actively collaborated with the Nazis and agreed to star in Nazi propaganda films such as Jud Süß and Kolberg (1945) as well as appearing in numerous newsreels. Tegel, Susan, "Viet Harlan and the Origins of Jud Suess 1938–1939: Opportunism in the Creation of Nazi Anti-Semitic Film Propaganda," in Historical Journal of Film, Radio and Television (Basingstoke), vol. He argues that those who dismiss Harlan as a "loud-mouthed opportunist who could direct crowd scenes" have failed to understand the structure of the script whose brilliance is due to Harlan rather than to his predecessors, Metzger and Möller. [45], The total cost of production was approximately two million Reichsmarks, a rather high figure for German feature films of that era. Röder, the duke's war comrade, attempts in vain to make himself the spokesman for the ruined farmers and citizens. The book was also adapted for the stage by Ashley Dukes in the UK in 1929 and later inspired a film version by English director Lothar Mendes in 1934. [11] The most successful literary adaptation was Lion Feuchtwanger's novel titled Jud Süß (1925) based on a play that he had written in 1916 but subsequently withdrawn. [28], In 1945, exhibition of the film in Germany was banned by decree of the Allied Military Occupation. I am happy about it". In an interview, Harlan explained that the decision to have Krauss play all the roles was "meant to show how all these different temperaments and characters—the pious patriarch, the wily swindler, the penny-pinching merchant, and so on—were all ultimately derived from the same (Jewish) root". Süß keeps his promise to free Faber who subsequently discovers his wife's drowned corpse. Ferdinand Marian: [87] [58] For example, Goebbels insisted on dropping a scene in which Dorothea responds to Süß's wooing with a smile. "[41] Harlan complained to Goebbels that all the characters were negative; to this, Goebbels retorted that Harlan would not turn down the role of Richard III just because he was a negative character. [43] This page was last edited on 13 January 2021, at 07:21. When his jailers demanded that he convert to Christianity, he refused. For example, he insisted that Ferdinand Marian and Werner Krauss take on key roles in the film. "[57], Marian finally agreed to play the part of Süß for fear of reprisal against members of his family. To support his argument, he points to anecdotal evidence that, rather than being perceived as a despicable Jew, Marian's portrayal of Süß was considered to be quite sympathetic; so much so that he received fan mail from women who had become infatuated with his character. ')", Jud Süß DVD available from "International Historic Films", Shay Hazkani, "Forbidden Films-An Analysis of the Nazi Propaganda Films The Eternal Jew and Jew Suess and Their Influence on the German Public", "Der Spielfilm „Jud Süß“ – Goebbels Meisterstück? The increase in the price of basic necessities causes the people of Württemberg to suffer great privation. In some scenes, new lines were scripted for Marian to read in order to make his character less sympathetic. The impetus for the movie came from Joseph Goebbels' desire to make an antisemitic response to Mendes' philo-semitic film adaptation of Lion Feuchtwanger's 1925 novel Jud Süß. [37] However, when Goebbels read Metzger's draft of the script, he deemed it to be insufficiently antisemitic for his propaganda campaign. The NSL was actively involved in the distribution of Nazi propaganda films in America, including Triumph of the Will. He is arrested at the city gate. Even without having seen the film, Lion Feuchtwanger had no doubt that Veit Harlan and his collaborators had expropriated his novel and adapted it to the purposes of Nazi propaganda. Möller decided to abandon Hauff's novella as the basis of the script, dismissing Hauff as too sentimental about the "emancipation of Jews and Poles. Goebbels rebutted Marian's argument by pointing out that he had just seen Marian's portrayal of Iago, asking "Was he a nice bon-vivant?" It's plausible that it served its intended function, to promote antisemitism, beautifully in its time. [77] Stefan Baretzki, a guard at Auschwitz concentration camp, later said that after they were shown Jud Süß and similar films, guards would beat up Jewish prisoners the next day. Armed with a pass from the Duke, Süß cuts his hair, shaves his beard, and dons "Christian" clothes so that he can enter Württemberg disguised as a Christian. [110], There is also Süß's role as a purveyor of women for the Duke, and his relentless pursuit of an "Aryan" woman for sexual purposes, even after she rebuffs his first attempt to seduce her. The film's popular success was overwhelming, the Bielefeld SD reported on October 15, 1940: "Now it surpasses all expectations. Jud Süß (Jew Süss) is a 1940 film produced by Terra Filmkunst on behalf of the Nazi regime and conceived as an antisemitic propaganda film. Culbert attributes much of the film's success to Marian's performance. In 1941, he wrote an open letter to seven actors. Following the advice of the Jew, he determines on a coup to make himself the absolute monarch.This forces Süss's opponents to act. Süß gains the authority to levy taxes on salt, beer, wine, and wheat as well. [15] This film (entitled Power in the U.S.)[16] starred Conrad Veidt, and was an early effort to expose Nazi anti-semitism. "Infamous but Seldom-Seen Films of the Third Reich Will Get a Rare Screening", "Illustrierter Film-Kurier #3130 (1940): Jud Süß", "Jud Süss – The most successful anti-Semitic film the Nazi's ever made", "Forbidden Films – An Analysis of the Nazi Propaganda Films The Eternal Jew and Jew Suess and Their Influence on the German Public", "Hungary – Pro-Nazi film screened in Budapest", "Az alapítvány jogi úton vizsgálja a történteket – Nem járult hozzá a Jud Süss budapesti vetítéséhez az illetékes német alapítvány", "Hetzfilm In Budapest –Nazi-Sympathisanten zeigen 'Jud Süß' "Nazi Sympathizers screen 'Jud Süß. He describes Marian as making use of "techniques and gestures perfected in his stage portrayal of Iago (in Shakespeare's Othello)". "Jud Suess" at the Berlinale: The seducer principle. [35], When Nazi Germany occupied Poland in September 1939, it now had the country's Jewish population of 3 million under its direct authority. [82], Harlan, who had later directed the propaganda movie Kolberg (1945), was the only film director of the Third Reich to be charged with crimes against humanity. "[7], According to Harlan's postwar testimony, Goebbels was infuriated when he saw Harlan's first version of the film because it was not antisemitic enough for his purposes. Under the pretext that Sturm is leading a conspiracy against the duke, Süss has him arrested. The actors being considered for the lead role of Joseph Süß Oppenheimer included Gustaf Gründgens, René Deltgen, Rudolf Fernau, Richard Häusler, Siegfried Bräuer, Paul Dahlke and Ferdinand Marian. [18][19], Süß relentlessly pursues Dorothea Sturm and schemes to marry her but his plans are frustrated when her father, the council chairman (Eugen Klöpfer), intervenes. Harlan claimed that "virtually every actor was performing under duress. [66], After the war, all the cast members also disclaimed responsibility, pleading that they had been coerced into participating in the film. "[122], From the early twenty-first century the film became the subject of a number of documentary films. Ashley Dukes and Paul Kornfeld wrote dramatic adaptations of the Feuchtwanger novel. [85], Werner Krauss was banned from performing on stage and in films in Germany. As head of the studio, Brauer assigned himself the task of directing the film. Jud Süss 4 magyar felirattal rendező : Veit Harlan - Jud Süß - Movies - Nemzetközi videók - hozzászólások, 11657 néző. Within the Third Reich, it was the number one film of the 1939–1940 season, viewed by audiences totaling over twenty million at a time when the population of Germany was some seventy million. [58] Some have attributed the accident to suicide. [17], The film premiered at the Venice Film Festival on 8 September 1940 and received rave reviews, earning the top award. ", Summary of the storyline and plot of the film Jud Süss, Scene from the film Jud Süss with English subtitles. It remains notorious to this day. However, Goebbels had to employ a combination of accommodation, generous compensation, pressure, intimidation and even threats of reprisal in order to fill the lead roles in the film with the top German cinema stars of the day. [10], When Karl Alexander died suddenly, Oppenheimer was arrested and accused of fraud, embezzlement, treason, lecherous relations with the court ladies, accepting bribes, and trying to reestablish Catholicism. [38] Goebbels' responded to this by informing Harlan that, if he enlisted, he would do his military service at the front. The duke, who would gladly be out of the situation that Jew Süss has got him into, uses the presence of the emperor's emissary in Ludwigsburg to leave Stuttgart, giving Süss a free hand to carry out the coup. While it is generally recognized that, with the exception of Marian's title role, the other five speaking parts that depicted Jews were all played by Krauss,[3] Gottfried Reinhardt asserts that Krauss played "no less than thirteen Jews" in the movie. [72] It ranked sixth out of the thirty most popular German films of the war years. The synopsis of the film narrative provided in the review highlighted a perversion of the plot of Feuchtwanger’s text that the author instantly recognised. Also, if you look at pageviews: 1940 film: 6,460 pageviews 1934 film: 945 pageviews; 1925 novel: 795 pageviews However, the Duke soon becomes frustrated because the Württemberg Diet (the provincial council) refuses him the funds needed to maintain a lifestyle comparable to his neighboring sovereigns; in particular, he wants a personal bodyguard, an opera company, and a ballet company. Harlan, Veit, Im Schatten Meiner Filme, Gütersloh, 1966. [121], David Culbert notes that "[t]hose who have condemned Jew Süss as a lifeless production are presuming—understandably—a morally abhorrent film cannot possibly have redeeming artistic merit." As a result, he was not confirmed in the role until about a week before shooting was scheduled to begin. Children under the age of fourteen were prohibited from seeing the film. Ferdinand Marian had a half-Jewish daughter from his first marriage and the former husband of his second wife was a Jew.[46]. Sturm stops him, and Faber and Dorothea are married. Eisner, Lotte H., The Haunted Screen, Berkeley, 1973. Jud Süß (pronounced [juːt zyːs], "Süss the Jew") is a 1940 Nazi German historical drama propaganda film produced by Terra Film at the behest of Joseph Goebbels.It is considered one of the most antisemitic films of all time. Harlan himself had flirted with socialism. “Jud Süss” was based on an internationally bestselling novel by German Jewish novelist Lion Feuchtwanger. In the end, however, she decided to stay and performed the role. [21] The filmmaker Leni Riefenstahl, in her 1987 memoir, wrote that Harlan had told her of Goebbels's insistence that he direct the film and of his ardent desire to avoid involvement in the project. Duke Karl Alexander of Württemberg takes an oath to the constitution as he begins his reign, promising to do everything "according to old Württemberg loyalty and honesty." According to Škvorecký, "Goebbels either outwitted [the actors he desired for the cast], or knew about compromising circumstances in their lives and used this knowledge for bludgeoning them into acceptance." Goebbels foray into the film for propaganda was not new, it had been part of the strategy designed by the National Socialist German Workers Party as early as 1930, when the party first established a film department. [123] In 2010, Oskar Roehler directed a film titled Jew Suss: Rise and Fall (German: Jud Süss: Film ohne Gewissen, Jud Süss—film without conscience) that premiered at the 2010 Berlinale.[124]. The Holocaust and the Moving Image: Representations in Film and Television Since 1933 Published by Wallflower Press (London, New York). [53], Christiane Schönfeld writes that, "[t]he Jew as sexual beast and vampire, sucking the life spirit from individual and community alike is an all too common motif in anti-Semitic propaganda and is put to effective use in Harlan's film." He asked them to "produce films with ... sharp racial contours" that portrayed men and society "as they are in reality. [35], Undaunted by Ebbecke's objections, Metzger took his idea to Teich, the story editor at Terra but was once again turned down. [17][18][19] However, he is ultimately convicted primarily on the charge that he had sex with a Christian woman. Harlan was later acquitted on all counts. Jud Süss was considered Veit Harlan's most significant accomplishment in that he produced an entertaining film with very stereotypical undertones, with the end result being an almost pseudo form of brainwashing  to the psyche of the unsuspecting viewer, many people claimed to have taken away from the film a heightened "Germanic pride. Harlan – In the Shadow of Jew Süss (German: Harlan – Im Schatten von Jud Süß) is a 2008 documentary film by German director Felix Moeller about one of the most notorious Nazi German filmmakers, Veit Harlan and his family. Sources: Die Tagebücher von Joseph Goebbels Teil I: Aufzeichnungen 1923-1941 "The Demonic Effect": Veit Harlan's Use of Jewish Extras in Jud Süss (1940) Susan Tegel University of Hertfordshire The German Propaganda Archive . Süß then has Dorothea's father imprisoned—on the grounds that he is a leader of the conspiracy against the Duke. The password has been changed that night. However, Culbert argues that, while one can understand such reasoning, it is actually a fallacy. Harlan defended himself asserting that he had been neither Nazi nor antisemitic. He sends Herr von Remchingen, a practiced courtier, to Frankfurt to find the Jew Süss Oppenheimer, who sees his chance. The Duke refuses at first, but ultimately grants Süß's request. [2] The film was directed by Veit Harlan, who wrote the screenplay with Eberhard Wolfgang Möller and Ludwig Metzger. Haggith and Newman assert that much of the rest of Harlan's film is "pure invention." [58][60], Of all the cast members, Werner Krauss was the one most clearly identified as an antisemite. In 2008, a digitally restored subtitled DVD became generally available online with commentary by film historian Eric Rentschler. Süss is arrested as he tries to escape.He is tried and condemned to death. The duke is satisfied with his Jew. In 2001 Horst Konigstein made a film titled Jud Süss—Ein Film als Verbrechen? [17][18] Lacking funds even to purchase coronation gifts for the Duchess (Hilde von Stolz), the Duke sends a courtier to Frankfurt to borrow money from Joseph Süß Oppenheimer (Ferdinand Marian). He identifies the focal point of the distortion when he refers to the desperate young woman and the sexual abuse she endures. She recalled that Marian had told Goebbels that his stage persona was one of a bon-vivant and a lover and that Süß, in contrast, was a "truly unpleasant character". "Jud Süß" is overall a well-made, sometimes brilliant, occasionally hammy, movie. Together with Die Rothschilds and Der ewige Jude, both released in 1940, the film remains one of the most frequently discussed examples of the use of film to further the Nazi antisemitic agenda. It focuses on the "wildly varying attitudes of Harlan's children and grandchildren", and how they struggle even today with the legacy of their ancestor's work. The film as based on a historical novel, "Jud Süss "written in 1925 by best selling author Lion Feuchtwanger, a Munich born playright, novelist and also a Jew. [93], In July 2008, the film was publicly screened in Budapest by Sándor and Tibor Gede, Hungarian right-wing extremists. He dies of a heart attack during the festivities at Ludwigsburg, which renders void his grant of immunity that gave the Jew immunity for all his crimes. In 1954, he was awarded the Order of the Federal Republic of Germany; in 1955, he received the High Decoration of the Republic of Austria. [42] However, in rebuttal, Haggith and Newman point out that Harlan added an important sequence in which Süß is responsible for the execution of a blacksmith, a sequence which served to increase the audience's hatred for Süß. Süß shows the emissary jewels and jewelry that are obviously beyond the Duke's means and then says that it would be his honor to provide the Duke with jewelry at a substantial discount. "[47] Cooke and Silberman describe him as "the actor most closely tied with fascist fantasies of the autocratic and the populist leader". Wulf, Joseph, Theater und Film im Dritten Reich, Gütersloh, 1964. ", Reich Ministry of Public Enlightenment and Propaganda, https://en.wikipedia.org/w/index.php?title=Jud_Süß&oldid=1000044228, Articles with Hungarian-language sources (hu), Articles with German-language sources (de), Short description is different from Wikidata, Articles with unsourced statements from November 2016, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. [46][68], While Harlan's account of Goebbels' involvement in the film has been treated by a number of sources as factual, Haggith and Newman assert that "it is difficult to find any evidence of significant interference (by Goebbels) aside from casting and the appointment of Harlan." With Ferdinand Marian, Kristina Söderbaum, Heinrich George, Werner Krauss. He further offered to halt shooting if Söderbaum became ill. Harlan later reported that Söderbaum was so upset by the entire affair that she considered fleeing back to her native Sweden to avoid having to play the part of Dorothea. It was shown to SS units, and Einsatzgruppen about to be sent east on their murderous assignment, and was also sent to non-Jewish populations of areas where Jews were about to be deported, by 1943 viewership of the film was reported as over 20.3 million people. 125–151. His prestige as a leading actor of the day made him an "extraordinarily valuable catch for the Nazis. Goebbels wanted Harlan to include sequences depicting Jewish ritual slaughter but Harlan demurred, arguing that portraying such cruelty would "make audiences sick to their stomachs. [5] Distribution, sale and screening of the film are forbidden in Germany and Austria. A few hours after his release, Faber carries the body of his young wife from the Neckar River. The Württemberg soldiers refuse to fire on their fellow citizens and several of the townspeople go to Ludwigsburg to confront the Duke and Süß. [41], Feeling that a project of this significance required top-caliber actors and frustrated at the delay in casting the film, Goebbels personally participated in the recruitment of the lead actors. He ordered each film studio to make an antisemitic film. [27] After viewing Lothar Mendes' sensitive 1934 British film Jew Süss starring an exile from Nazism, Conrad Veidt, Goebbels was adamant that "a new film version had to be made."[28][29].

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