Simplicity is key!

Hamilton hits on a critical distinction in her article. The primary difference between the Nazi and Communist youth movements, and thus their film counterparts in Quex and Kuhle Wampe, is simplicity, or in other words tangibility. Hamilton refers to "concrete" messages of the Nazis, however she does not mean that the whole of Nazi doctrine is by any means concrete, she quickly notes the myriad of contradictions, but rather that the facets of their doctrine presented to the youth is very simple. There is no gray area. "The Jews are bad", "you are soldiers," "Germany must rise again," so on and so forth. Excessive analysis of Nazi statements is hardly required for the audience to receive any message except simply what the party planned for them to. As well, these messages are emotionally charged in a positive way, embracing a “constructive” national spirit, with the youth, regardless of social class or regional location, as the essential building blocks. Likewise, the messages in Quex do not require overt analysis. Simply the film directs the audience to avoid other corrupting and inherently catastrophic ideologies in favor of the Nazi party because of its harmonious values and camaraderie. The viewer easily understands the notion present that the Nazi movement is the best family one can have, providing both safety and opportunity. There is no deep penetrating meaning in this film. The audience does not need to peel off layers to recognize that involvement with Communists is bad that it is linked to unemployment and vice, and that Nazism is good, synonymous with moral conviction and vocational contentment.

In contrast, the communist for Hamilton do nothing but disseminate a vague ideological doctrine that is far more ambiguous. Plainly, it is hard work to understand communist ideology. To Hamilton the youth hardly wants to have to process and develop an understanding of what their ideals are supposed to be, they want them clearly presented as the Nazi’s do. To the unsophisticated youth, the history of unemployment and destitution will not be changed through some international movement that has proven to both distant and ineffective. Communism was not a new idea, many youth knew that, and to this point it had not done anything to change their situation, where Nazism was fresh and promising. Nazi appeals were not difficultly vague, but rather unabashed and to the point. Quex, when compared to Kuhle Wampe emphasizes this point. The film is artistic, it forces the audience to think about it, to investigate it and dig for deeper meanings. The youth did not want to have to “think” hard about a film, a film was supposed to be cathartic and entertaining, not hard work, and was certainly not supposed to be scholarly. The highly cultivated and developed Kuhle Wampe simply asks its audience to do too much critical thinking. It is not a narrative, it is not direct, and it is very much an inconsistent film in the storyline and the way it is presented, using a number of techniques to send even more messages. We today understand the artistic value of this work, but to the youth of Germany why waste time trying to dissect Kulhe Wampe, when Quez was plain and accessible.

In this communist doctrine is synonymous with Kuhle Wampe, therefore, it is complicated and hazy, for average German youth this is hardly appealing. Nazism like Quex is clear and plain. It does not ask for pensiveness, just action. Hamilton recognizes that this call to action is readily received by the restless youth.