The Broken Jug

If I were to write a paper on The Broken Jug and its position as a Nazi film, I would focus on the personal failings of the judge, Adam.  In the original text, The Broken Jug focuses on the failings of the judicial system, while the film adaptation focuses on the failings of the individual.  Adam embodies all of the failings that the Nazi party was so against.  Physically, he is scarred, overweight, and bald.  He has a club foot, a physical deformity from birth that the Nazis were vehemently against in their aspirations for physical perfection. As a person, he is a drunk and also put the good of himself above the good of the community, which the Nazis were against.  We do have two men in the film who the audience can have faith in; Light and the head magistrate.  Light is ultimately good, but clearly needs an assertive leader so that he can be fair.  That leader comes in the form of the magistrate, who is not fooled by the antics of Adam and ultimately brings justice to the community.

 

I think another, subtle, argument that I would bring up would be the Adam-Eve aspect of the story.  The names of the characters (Adam, Eve, Light) were not casually given.  Eve, the female protagonist, was ultimately the lure which brought about Adam’s downfall via the downfall (pun) of the jug.  Adam did not have the strength that he needed to resist, which he would presumably have had if he lived according to Nazi values.  The audience can clearly see these faults, and see them as Wrong.

What The Broken Jug Holds

If The Broken Jug were to be viewed as a film representative of Nazi cinema, one of the most prominent features would be Adam, not as a figure representing the strong, model individual that the Nazis promoted, but of a personality that the people of Nazi Germany should avoid emulating at all costs. He is cowardly and does not righteously uphold his role in his society. He betrays the overall system through his lack of honor and honesty - him, a figure of justice! - and consequently weakens it through the mistrust that he creates.

Additionally, the names Adam and Eve are of obvious significance. In this case, Adam is largely guilty of The Fall instead of the woman. This plays into the Nazi promotion of mothers and the female's role in supporting and building a stronger German society. Eve may have her own faults, but she is brought down through Adam's failed and unacceptable behavior. The fact that most of the problems are still attributed to the feiger Adam and his weaknesses only emphasizes the shame of his character, an exemplary model of what not to be.

Nazi Prop? Maybe...

The Broken Jug can come across as a Nazi Propaganda in a few ways.
One of those is the displacement of law and order. By the creation of a character like Adam you create a corrupt official, one which must be replaced by the well meaning and honest one after being disposed by the strong figure of order of the district Judge. So too does the Nazi party sweep in and save the day and replace the corrupt high-browed Adam with the common man in the Clerk, who, like the German people, has served without recognition for many years to ensure the world is judged truly and not as some people would like to view the world.

It can also be seen as a Nazi film as it is about the preservation of honor. The jug that was destroyed portrayed the glorious past of Germany, which was broken by some man who drew away from what was right and sought only the based of desires, that of a female. Furthermore, rather than perusing her in a correct and lawful manner, he threatened and schemed in order to gain control of her. Any honest man would not do this, or seek an early wedding day. This goes against the belief of a pure Germany, of well-meaning lads and family oriented maidens.

By looking at these ideas, the symbolism that the party supports is there, but it should also be noted that these are the ideas that any society desires and can be just as Nazi as not.

Der zerbrochene Krug's indirect support of National Socialism

Certain films that were produced under the Nazi regime, such as Hitler Junge Quex, blatantly promote Nazi ideals to such an extent, that one need not look beyond the surface in order to their intent. Der zerbrochene Krug, however, is not such a film. Without understanding the liberties taken during the piece’s adaptation and transfer from the stage to the big screen, and without focusing on group-specific stereotypes that prevailed in Germany at that time, it is quite easy to overlook the film’s political objectives and view it solely as a harmless comedy revolving around a clumsy man’s drunken adventures and his eventual sober realization of their consequences. With these in mind, however, one is able to view the film in its truest form, as a piece of Nazi propaganda.

While the play Der zerbrochene Krug focuses on a societal issue, namely the corrupt nature of human beings and the inevitability of dishonesty and foul play, the film concentrates on the flaws of one man, Adam, and his personal detriment to society. The film displays Adam as a lazy, sloppy, drunkard who tries to manipulate his authoritative position in the judicial system for personal advantages. The physical characteristics of Adam contrast those of the “ideal” German male described by the Nazi Party. He lacks the self-discipline that the Nazi Party links with valuable men. Furthermore, he does all of this while serving as the local judge. During and prior to the second world war, the Nazi Party emphasized not only the flawed nature of Jews, but also their unjustified positions in society. Jews were presented as both untrustworthy as well as dangerously-powerful. In this context, Adam embodies the societal issues that the Nazi Party promised to address. His corruption and deceitfulness eventually catch up to him, as he is charged with the breaking of the jug. The Nazi Party promised a similar fate for the Jews; over time they were stripped of their legal rights to certain jobs, living spaces, etc. In the eyes of the Nazi Party, the Jews had gotten away with their deceit (like Adam) for long enough, and it was time for them to be reprimanded for the better of society.

Der zerbrochene Krug may initially appear to be a light-hearted film lacking political objectives, but its true nature becomes clear after closer inspection. It highlights the virtues that were expected of German men under the Nazi regime, such as self-discipline and a strong work ethic. Furthermore, it exposes the problems that occur when the wrong types of people (specifically, those lacking the “ideal” German characteristics, such as Jews) have authority. Although this film never directly promotes anti-Semitism, it certainly helps one conclude that actions must be taken in order to save society from people, like Adam, who cheat their way through life and corrupt the otherwise blissful community.

The Broken Jug as Subtle Nazi Propaganda

There are many ways that you could go about proving that The Broken Jug is a facet of Nazi propaganda, but in my opinion the primary use of Nazi ideology in the movie is the justification of the Nazi eugenics agenda. Having been released in 1937, the movie was being screened after many of the Nazi T4 experiments and euthanasia programs had already been initiated without the knowledge of the public. However, the public was well aware of Nazi racial ideology and the promotion of physical perfection. The Nazis sought to rid Western society of all physical and mental imperfections in the attempt to make a master race of strong Nordic peoples, in other words a people that represented the antithesis of Judge Adam. In the Broken Jug, Adam seems to represent everything that the Nazis disapproved of: his body would have been considered atypical for a svelte German soldier, he regularly engaged in overeating and heavy drinking, he showed very little respect to women (as demonstrated by his treatment of Evie, as well as his daughters), and he slacked off on his job of upholding the law. This inability of Adam to uphold the law is another facet of Nazi ideology embedded in the film. There is a clear message from the filmmakers that in order for society to function properly, there must be competent lawmakers and judges to protect society. The choreography of chaos at the end was a clear metaphor for what happens to society when there is a lack of leadership, which would have been meant to resonate with audience members as a representation of post-World War I Germany. Furthermore, the idea of Adam’s excessive behavior and inability to maintain order share a clear link in the film: his heavy drinking the night before the “trial” for the broken jug resulted in his being unprepared to host the visiting judge. The Broken Jug set up for German audiences a relatable anti-hero in Judge Adam, for he is not intended to be an evil villain such as the Communists are depicted in other movies, but a product of excess and a lack of self control. The film can be construed as subtly sending Nazi-coded messages to the audience concerning physical restraint and attention to order.

Adam as the un-Nazi

Imagine you were writing a paper on the Broken Jug. How would you address its position as a Nazi film? Some helpful ways of thinking of this question (you do not need to use all of them or any of them!) What categories would you use to answer this question? How does the film associate with Nazi culture? How might you organize your argument?

To address the films position as a Nazi film I would focus on how Adam represents what Nazi culture is against. I would focus on all of the dimensions of Adam's character, lack of morals and honesty, his less than perfect physical form, and his extreme disorganization.  His corruptness as a judge is clearly something that should be viewed negatively, whether or not the film is looked at through the eyes of Nazis or being viewed as a simple comedy. In the Nazi view this defiance of the law, when put in a broader sense, is a defiance of the social order, which all good Germans should follow. Adam's physical appearance is very important in exemplifying him as something undesirable for the Nazis. He is overweight and clearly not in prime physical form. He also does not seem to be extremely clean, going against the Nazi ideals of excellent and rigorous hygiene. These physical attributes of Adam are the most obvious attributes that can be seen in the movie, even before the plot begins, which helps to very clearly illustrate that he is not what a German man should be. Adam also embodies the chaotic and disorderly pre-Nazi Germany with his clumsiness, messiness, and confusion.  Nazis strove for a unified and orderly Germany and Adam is clearly anything but.  The ultimate downfall of Adam in The Broken Jug shows the triumph of Nazi ideals over such immoral, unkempt and disorderly men. 

Hitler's Favorite Film

The Broken Jug was said to be Hitler's favorite film, now if that is not enough to convince someone of the connection to Nazi cinema, I do not know what would. The film mocks the failing of human nature and the judicial system that was set up to protect itself. It is quite easy to see the corruption and link it to the tainted court system in Nazi Germany. The film chronicles a corrupt judge who tries to cover up his attempted seduction of Eve, an attack in which the titular jug was broken, by sending the innocent Ruprecht to prison. Testimony is given by a number of quaint village types until the judge is finally exposed. It was Ullmann’s final opera written before his internment at the Terezinstadt and his eventual execution at Auschwitz, which is another link to the fact that it had strong ties to Nazi Germany, Ullmann knew what was going on in the higher parts of government and was not afraid to expose it in film, which unfortunately ended in his death in the gas chamber. For the paper, I would first discuss the origin of Ullmann and his life, then the political events that were occurring at that time, then the making of the film and research that was put into writing the screenplay, and finally what really led to Ullman's death in the gas chambers of Auschwitz.

The Broken Jug compared to other Nazi Films

In order to view “The Broken Jug” as a Nazi film I would look especially close at the role of Adam. Adam represents many characteristics that the Nazi party looked to oust through their euthanasia program and treatment of the mentally challenged. As seen in clips from the “Architecture of Doom,” Goebbels sought to rid the German world of the mentally challenged because of their lack of productivity and costliness to the state. He threatened the viewers by projecting false statistics about the increasing population of the mentally challenged and overtly implied ridding them of the world. Goebbel’s interpretation of the mentally challenged, as well as the portrayal of Adam, are recognized as lazy, gluttons, useless, corrupt, and disorderly. Also, the mentally challenged were murdered in order to create a better society, much like Adam was run out of town for the same reasons.

In “The Broken Jug,” Adam noticeably does not live up to his role as the judge in his county. He is seen drinking at many points, he refers to drinking often, and he is presumably drunk during the incident of breaking the jug. This leads to his clumsiness, disruptive behavior, and disregard for the law. The Communists in “Hitler Youth Quex” demonstrate these same characteristics and are the villains of society. When Adam is run out of town, order is restored and justice seemingly prevails. In conclusion, “The Broken Jug” holds many similar themes to the other Nazi films we’ve viewed and discussed.

The Broken Jug as a Nazi Film

If one watches The Broken Jug with only its comedic genre in mind, it is easy to ignore the symbols of Nazism that are hidden within the plot. For starters, the plot surrounds a jug, a seemingly plain object; however, one could look at the jug as chastity. When the jug is broken by Adam, the movie is also putting forth the idea that Eve’s chastity has been broken as well. Adam is ultimately punished for his role in taking Eve’s chastity away, showing the importance of the ideal of being chaste in Nazi culture. It is interesting that Eve’s mother is the one who brings forth the case of the broken judge to court, even though it is her daughter who has not been chaste, it is her family that would theoretically draw the shame.

Another aspect of the film that places it within the Nazi genre is the focus on Adam as an imperfect man. The first scene of the movie is entirely dedicated to portraying Adam’s flaws; the audience hears him grunt and moan as he cleans his wounds and watches as he drinks fluids that are not meant to be drunk. The audience is meant to be repulsed by Adam’s behavior, which is clearly not in line with the Nazi ideals of the strong, manly laborer. In contrast to Adam is the visiting Judge who is there to check up on Adam and the courthouse. He behaves in the opposite manner as Adam, and while Adam is chased out of the courthouse and ridiculed by the village, the visitor remains an upstanding citizen.

The Broken Jug and Nazi Ideology

Imagine you were writing a paper on the Broken Jug. How would you address its position as a Nazi film? Some helpful ways of thinking of this question (you do not need to use all of them or any of them!) What categories would you use to answer this question? How does the film associate with Nazi culture? How might you organize your argument?

If I were to write a paper on The Broken Jug and its function as a Nazi film, I believe I would begin by focusing on the connection the film has with the ideology of a perfect order and the way the audience is aware of the one who is guilty of disrupting this order. As we discussed in class, in its original conception in the play by Kleist, the jug represented an ordered world which, after it is broken, can not be fixed. However, the film version does not present this as the case. Instead, the one who has disturbed the order of righteousness and justice, Judge Adam, is cast out of society by the very order he disturbed. This, then, is clearly in line with Nazi ideology as it expressed its obvious wish for a perfect order. This order, they felt, was threatened by a very clear and obvious enemy, the Jew, who was the cause of disorder in society. This is why I feel the audiences awareness of the guilty party in the film is so crucial. Just as the audience member knew, near the outset, that Judge Adam was the guilty party, so to did the German people know that it was the Jew who was causing the disorder and chaos in Germany and the world. At the same time, those who are guilty, Judge Adam and the Jews, never admit their guilt and it will not be until the just order has cast them out that absolute order can be fully restored. To keep them around would be a constant threat to the purity of that order. Lastly, I think it is important to note that in this film, one man is the cause of an incredible amount of disorder. If one man can cause all of this chaos, consider how ten, or twenty, or millions could cause disorder. If there is a threat to order, then the order must, and will, rid itself of that which disrupts it.

October 6-8: The Broken Jug

Imagine you were writing a paper on the Broken Jug. How would you address its position as a Nazi film? Some helpful ways of thinking of this question (you do not need to use all of them or any of them!) What categories would you use to answer this question? How does the film associate with Nazi culture? How might you organize your argument?

If you use the Silberman article (on OAK) to help frame your argument, post your answer on the Readings blog. Otherwise, make use of the Films blog.

The Emperor of California

The Emperor of California embodies all three genres, being a Nazi, a Western, and a Trenker film all in one.  Being a Trenker film, it shows a man going on a noble journey, failing, and wishing that he could return to the Fatherland.  We also see the protagonist as an adventurer, with Sutter being the ideal for of masculinity. We saw some of this in The Prodigal Son, as Trenker was yet again let down by his new surroundings.  As a Nazi film, we see America in The Emperor of California as an unforgiving example of the modern world.  Similarly, The Prodigal Son shows a man who is abandoned by all in the new land, or helped by some who have false pretenses.  As a Western, which is the easiest lens to view the film through, we get the archetypical sweeping landscapes, sense of danger, and the example of men proving themselves.  I believe it is important to keep all three perspectives in mind when viewing such a film, as they all have several messages to offer.

Sphere's of influence

So, we dont really know to much about trenker's motivations in making the films he made during this period, or at least we don't know the "true" motivations. Did nazi propagandists take advantage of his subject matter and exploit the films, or was trenker including themes for the nazi's so that he could continue to thrive under the new regime. Comparing "Emperor of California" to the clips of "The Prodigal Son" that we saw in class tuesday its safe to say that one theme is clearly present in both films. They both decry capitalism and tear down the image of the american dream. Both films portray the capitalistic american man as more or less a savage being motivated solely by self enhancement and in so doing exhibit america's darkest and most base elements. Simultaneously, trenker portrays the European's in the film as visionary and idyllic examples of man's potential. In this way trenker's films display a Nazi influence, the image of superiority of europeans (specifically germans in the case of the Nazi's) over the rest of the world and their political orientation is strongly present in both films, as is the fact that they are taken advantage of by the capitalistic system. Although the film does not overtly portray a "Nazi" form of government as the ideal, it certainly speaks out against capitalism and could very well have been used to fuel german nationalism/superiority over the rest of the world, as well as superiority of the Nazi Party over its capitalist counterparts.

Luis Trenker Western

In my opinion "Emporer of California" is viewed as a Western more so than a Nazi film. Gold is really important in most Western films,and this one is not any different. We see the struggle that our main character has to go through to survive in the "wild west." Therefore, in my eyes this film definitely relates more to a Western genre. I also do see the part of the movie that makes it a typical Trenker film. I do think the shots that are taken of the landscape and the mountains really make it an authentic Trenker film. Along with this him climbing mountains are what you would see in a typical Trenker film.

Anti-Western Western?

Although many posts comment on how the Trenker film, Emperor of California, embodies the typical Trenker traits of mountaineering and the outdoors, it seems that the film also attempts to debunk the theme of a care-free American West. While initially the film portrays the American West as a free for all land of opportunity it quickly evolves into a hellish wasteland of lawlessness complete with murder and fire. Random people are lynched and buildings are destroyed by the unruly American mob acting without purpose. Additionally (and this might be due to my hazy knowledge of German), it seems that the governing officials of California are not there to help those law abiding citizens of the West. Thus, the Trenker film takes a decidedly political stance against a cinematic icon: the American West. By portraying the West as an illogically lawless land (unlike other films that convey an attractive lawlessness) and a violent populace the film sends the message that the West spawns immorality and evil beings. This notion runs slightly against the usual Trenker theme of upholding Nature and the landscape since these beautiful lands also contain the madness that the protagonist experiences. Perhaps this irony is what the film is getting at, that despite the majesty of the West it contains evil as well.

Viewing "The Emperor of California" through Various Lenses

No matter how you view "The Emperor of California," the plot stays the same; the message, however, stays the same. As a Nazi film, TEoC portrays an anti-modernist message that reminds the viewer of the importance of homeland Germany. As a Western film, TEoC gives all the elements of action and adventure expected from the genre, while also showing the struggles of tackling the American western frontier. As a Trenker film, TEoC depicts the protagonist eventual understanding of "Heimat" while being set to numerous breathtaking mountain landscapes.

I do not believe that TEoC makes a strong case as a Nazi film. I think the film happened to fit what the Nazi's were looking for in an anti-modernist movie rather than the Nazi Party enforcing the implementation of these aspects in the movie. It depicts NYC as not being as glamorous as legend makes it out to be, but it is not the flag waving, staged parade Nazi propaganda that was typical of the time.

I think that the aspects of both Western and Trenker films run closely together to better describe TEoC. Using the broad shots of mountainous Western landscapes is typical of both genres. Trenker's successes and eventual struggles in conquering the new frontier is expected of Western films, but the use of these Western aspects and the theme of what "home" truly is pulls the film back into the genre of a Trenker film.

Trenker's "The Emperor of California"

Trenker's "The Emperor of California" can be viewed from the perspective of several genres, but is most typical of the category of German adaptations of the American Western. It has some themes in common with American Westerns, such as that of men going out into the wilderness and creating their own space within it, "ensur[ing] the final victory of civilization" (Koepnick, 10). The story also takes place, at least during the middle of the narrative, at the intersection of civilization and nature (10). However, the victory of civilization is not portrayed positively, and the film ends on a note of resignation, with the idea that progress cannot be stopped (no matter how much one may want to stop it, implying that it isn't great) and that Sutter should accept this. He is, in the end, defeated by the greed and chaos that comes with capitalism/gold and modernization. Thus, while it embodies some typical characteristics of an American Western, "The Emperor of California" is also at odds with that genre and/or goes beyond it. Seen as a German Western, however, it is more typical. It definitely has "antimodern, anticapitalist rhetoric" (Koepnick, 11), and also raises issues of the "struggle between materialism and spirituality, greed and self-sacrifice" (11)- materialism and greed being represented by the gold-diggers who ruin Sutter's happiness, and spirituality and self-sacrifice being represented by Sutter himself. Yet, ironically, Sutter, the hero, is still a "capitalist entrepreneur" (11), although his goals are to create a space and life for himself and his family and effectively run the land he has been granted, rather than getting rich. Also fitting in with the German Western is the fact that Sutter and his men are actually the "harbringer[s] of institutionalization" (12), whereas in an American Western the hero would typically be resistant to or on the outskirts of any such development. Institutionalization itself, then, is not seen as negative, although extreme modernization is. It is also disturbing that the hero is in the end told to give up and stop fighting the inevitable, even though in the film's beginning he fought to the point of death; in an American Western, a more likely ending would have been the the hero/outlaw continuing to be defiant against all odds (ex: Butch Cassidy and the Sundance Kid, in which the two protagonists take on a ridiculous number of police-type characters in the last scene and may or may not have lived to tell the tale).

Trenker Western

The film was most clearly a Western and could easily be viewed simply as that. However, going into the film thinking of it as a work of Nazi cinema greatly altered how I saw it. As a Western the film could be viewed as focusing purely on this man's life and struggles. Viewing it as a Nazi film made me think of the film in more broader terms, focusing on the workers as a whole and the endeavors with the land and gold as general problems, instead of simply Sutter's problems. I also found that instead of just following the story line of the film, I kept questioning what everything was supposed to mean in terms of a Nazi agenda. Had I seen this film believing it was only a Western I think I would have sympathized more with Sutter and his family. Questioning the meaning behind things set me farther apart from the immediate story and the characters. 

Therefore I think the film should be approached as a Western, not a Nazi film. The idea of Heimlot is important, but it has just as much impact when the film is viewed as a Western. It doesn't have to be specifically about Germany, just about the home, or roots, in general. 

sheep's clothing?

Emperor of California appears to behave as a Trenker film, especially with the rugged sorts of imagery, especially when Suter is climbing the mountain. Secondary to this identity is the notion of the film as a western, which lends a certain sense of novelty to the film, perhaps. These identities seem to be well established, and are also the reason that this film works as propaganda.
Because the film is not immediately recognised as a propagandistic or overtly nazi film, the viewer is more susceptible to the propaganda within, because their guard is down. The film is slanted, but appears not to be- that makes for good propaganda.

A Nazi Trenker Western

The Emperor of California can be read as a Western, a Trenker film and a Nazi film. The three categories yield three different interpretations of the film, highlighting three different themes. Reading the film as a Western, the theme that is most important is the setting of the American West. With high-speed chase scenes involving cowboys and Indians and stereotypical bar scenes, the film contains many key elements of a typical Western movie. The characters are dirty, rugged and unshaven and display great amounts of courage and bravery. As a Trenker film, the theme that is highlighted is the Heimat. The move to America proves to be a bad one, as Sutter ends up having his sons murdered and leaves the city in ruins. His experiment fails and he yearns to return home. This is a common element in Trenker’s films and is an overarching theme in the movie. Finally, as a Nazi film, The Emperor of California highlights hard work for the whole rather than individual greed. The Nazis wanted the German people to work the land and fight for Germany as a group of people and did not want them to succumb to individual greed. When the society that Sutter creates functions as a group, they succeed, however when they get greedy and only think of themselves, it all falls apart and the city is left in ruins. All three of the readings are important for different reasons and all three interpretations of the film are completely valid.

The Emperor of California: Nazi, Western or Trenker Film?

            While The Emperor of California definitely contains elements of Nazi film and a Western, I think it is most representative of Trenker’s films in general.  First of all, as we discussed in class, Nazi films often include a theme of a German protagonist leaving the homeland and eventually returning due to an overwhelming sense of loyalty and need to “fight” for the country.  They generally were meant to leave their predominantly-German audience feeling like home is not just a location but the essence of an individual, and better than any other exotic place in the world.  While Trenker did produce many films that embodied this theme, such as The Prodigal Son, I didn’t really get the impression that The Emperor of California was trying to achieve that end.  Although California, like New York City in The Prodigal Son, can often times prove harsh for Sutter throughout the movie, it doesn’t necessarily seem to be making the point that Sutter was better off in his homeland.  Therefore, while Trenker did make many Nazi-approved films rooted in ideology accepted by the Nazis, I would not classify The Emperor of California as one of them.  On that same note, I wouldn’t exactly characterize the film as a Western either, despite the fact that its set in the “American” west and centered around stereotypical cowboys.  I don’t know much about Western films, but from what I understand, they generally have a somewhat simple plot with a rogue, swaggering main character, which does not seem parallel to this film.  Sutter is certainly not the typical Western protagonist, nor is the plot a simple good guy versus bad guy melodrama.  That being said, from what we have learned of Trenker, I would classify the film as a “Trenker film” due to its use of geography and innovative film techniques.  The scene where he is depicted as “going to America,” where he is walking towards the ocean as he blends into it, seems very unique for a film of that era.  Furthermore, the pans of the scenery remind me of The Prodigal Son, and his impressive way of showing such a unique view of New York City.   Finally, Trenker is known for using geography to show audiences what is representative of “home,” and his depictions of the American west represent what he must have viewed as the antithesis to the capitalistic New York City.

The Emperor of California
Thinking of “The Emperor of California” as either Nazi cinema, a Western or a Trenker film, I would say that the Nazi aspect is the least important one - especially as Trenker was not a real Nazi or German himself but only became both to be able to produce movies. He considered himself a Tyrolese and Tirol is also where his heart was. Although one could interpret his down fall in the end as propaganda for the Nazis, so to say that these things hadn’t happened to him in Germany because the German people would have been more loyal to him and hadn’t betrayed him, I think that Trenker’s true motive is his love for his “Heimat”: although he had found a new home in California, it could never be as good as his original “Heimat”. Watching the movie with regard to the “Heimat” aspect, it clearly becomes more a Trenker movie than a Nazi movie. Another aspect that contributes to this perception of the movie is his beautiful shots of the landscape, especially when we think of various mountain scenes that are typical for Trenker. This glorification of nature together with the ideals of the westward movement and the American dream (even though it is destroyed in the end) makes it on the other hand also a typical Western. In my opinion if it hadn’t been for the ending of the movie, Western would have been the best movie genre to put it in. But with this rather destroying ending, which fits into Trenker’s “Heimat” motive, it becomes some kind of a mixture of both; but in no way, at least in my opinion, is it a Nazi propaganda movie.

The Emperor of California from Three Viewpoints

When one looks at Der Kaiser von Kalifornien as a Nazi film, several events in the film come to mind that highlight what could be considered propaganda significance. The first, and possibly most striking, is Suter’s anti-Napoleonic poster. Suter, a Swiss man, addresses the poster to “Deutsche Brüder.” An anti-French German nationalist movement, if one can even call it that, was only in its infancy at this time, and it was more likely to be present in northern Germany, not Switzerland. In any case, it is highly doubtful that Suter would have directed an anti-French appeal to “German” brothers. (There is also the small problem that the real-life Suter did not leave Switzerland until over 15 years after Waterloo, but one could just say that leaving under the conditions that he does in the film is simply more interesting). Thus, viewed as a Nazi scene, this scene looks like it is trying to create sympathy in the audience with the character Suter based on his nationalist feelings.

The film can be viewed as a Trenker picture as well. Two elements of the film come to mind. First, Suter’s futile struggle to preserve a pre-modern agricultural paradise seems congruent with what we discussed in class: Trenker’s glorification of blood and soil. Although one might see in this elements of Nazi ideology, I believe that the roots of disdain for the modern world go back farther in history than the Nazi movement. Besides, Suter’s agricultural community is worked by a multi-ethnic group of men, which would be highly problematic for Nazi thinkers. Second, the riot scene in San Francisco at the end of the film, besides being caused by the corrupting influence of money, also takes place in a city, which is crucial. Just as New York in Der Verlorener Sohn has a dark side beneath the tall skyscrapers, so the people of San Francisco, so recently employed in healthy work on Suter’s land, tear apart their city.

As a western, the film is much simpler to interpret. The villain of the film can be just that, a bad guy who doesn’t change his ways even when Suter defeats him. In addition, rather than being a symbol of modernity’s negative effect on humanity, the discovery of gold can instead be seen as something which destroys the wild west, something with value in itself. The land of noble Indians and open range for the taming declines and is lost to urban development.

The Emperor of California

This film encompasses details of each film genre which makes the whole such a provocative piece of film. From the Nazi Cinema perspective, politics and the way of life that Trenker experienced as an "American". Nazi Cinema often focused on the praising of the Nationalist Social party and had the social norms that made something good, right, and socially acceptable. New York stood for the bad and the ugly, like the communist party was often made out to be in Nazi Cinema. The fatherland (Germany) was home, and where our protagonists needed to be. As a Western, it was the environment and way of life that was set up to deliver the political message. The fight between good guys and bad guys plays a role over property ownership gives the viewer more of a Western feel but still ties into Nazi Cinema's way of portraying how great their party is and how no other regime compares. However, as the traveling and roaming nature of Trenker still gives it its Western feel. Neither is better than the other, however by combining the two, the film can reach more people as it is not as clear that it is a propaganda film.

The Emperor of California... should have just stayed home?

The Emperor of California allows for a wide range of interpretations, depending on how one chooses to view the film contextually. Is it a western? This notion is confirmed by the masculine efforts that dominate the entire film, as this beacon of ruggedness ventures first across the ocean (although this process is very tackily avoided) and then across the United States, with the wild west being his destination. The natural scenery establishes purity in contrast to, for example, the dark and dirty atmosphere of the bar, when the news of the gold first gets out. From mountain climbing to simply laboring vigorously, we see unparalleled daringness displayed by Trenker until his tragic death.

Looking at the film as a piece of Nazi propaganda, the message is less clearly recognizable. On the one hand, Trenker’s departure from his Heimat ultimately leads to his death. Assuming his home in the mountains of Europe is where he belongs, his Heimat, the audience gets the impression that even the most rigorous attempts to establish a quality life in a foreign place will not suffice. The outside world is simply too corrupt. The murder of his two sons shows how brutal life can be, especially when one considers how quickly this event occurs; they had initially waited years to come and join their father, however are unable to live peacefully in this new place. Despite this, I was unable to entirely buy into the idea that all of his efforts were in vain, and thus I am not sure about how to perceive the Nazi ideology present in the film. Although he fails to survive and see the rebirth of the burned and destroyed city, one still sees a triumphant San Francisco at the end.

This film is not limited to these views, however. In the context of Trenker’s works, the Emperor of California fulfills every expectation. Trenker plays a central and adventurous role. He ventures away from home in search of something better, but fails to accomplish what he set out to do. His death and the burning of the city make it apparent that it was a mistake to leave in the first place. The cinematography also helps to establish these views, as he is often shown conquering beautiful, vast landscapes. No matter how one analyzes this film, interesting observations are bound to come up. If nothing else, it is an interesting and thought-provoking work.

Der Kaiser von Kalifornien

In my opinion, Der Kaiser von Kalifornien is more of a Trenker film than it is a Western or a Nazi film, although this is not to say that it doesn’t also have characteristics of the other categories. Der Kaiser von Kalifornien has many of the aesthetic and thematic qualities of Westerns, not to mention being located in the western United States. It also demonstrates some anti-American views, similar to those shown in Der Verlorene Sohn. The Americans are loud, greedy, cut-throat, and disloyal to the people who had previously helped them. Yet the characteristics which make it a Trenker film are the strongest of all. Although the flat lands of the American West are far different from the snowy mountains of Trenker’s homeland and many of his other movies, there are still three scenes which distinctly show the struggle of Stutter against mountainous backdrops. The first happens when he scales the stairs of the town cathedral and at the peak, as he’s about to throw himself off, an angel comes to him and starts him on his journey to America. The second is when he and the other two men are climbing over sand dunes. Because sand dunes like these are nowhere to be found in Kansas, where they allegedly are, I have to believe that this creative choice of geography must be to once again show the protagonist struggling on the steep sandy slopes. The last is when he walks up the steps of the Capitol in Washington. Once again, the angel comes to him and congratulates him on having come so far, but also tells him that he must stop struggling against the gold and the change the country is experiencing. Clearly, Der Kaiser von Kalifornien is an excellent example of the Trenker film type.

Different Viewpoints for The Emperor of California

While watching this movie, the Trenker and Western aspects were evident from the beginning. The beautiful, mountainous landscape, the rolling hills, and the ever present cowboy and Indian characters resonated the Western feel. As a Nazi film, it was unclear to me in the beginning as to why the regime would see this as an important piece of their propaganda puzzle, however by understanding the "Trenkerness" of the film I think the answer to the question becomes a bit clearer.

The "Trenker film", which is characterized by the Heimat theme, seemed to be present in the movie at first, however by the end of the movie you realize that there is a twist. Trenker does not return home in the end, and he actually looses members of his family when they migrate to the United States. He also sees the demise of his economic success and I think this was an interesting tactic for Nazi cinema. Whether done with the hopes of supporting the regime or just adding a twist to his normal plots, Trenker demonstrates what would happen to the German man if they do not return to their Heimlat. His family, his success, and everything he had worked for were lost and destroyed as the movie came to an end - you also saw his loss of strength as he arrives at the Capital sets. By not returning to his Heimlat and by settling in America, I think the end of the movie set out to say "if you do not return to your Heimlat, despair will be in your future". Trenker embodied the German ideal in many ways, through his physical strength, good looks, and economic success, however his one failure (not returning to his Heimlat) would be his biggest mistake. By using this movie, the Nazi's found yet another way to demonstrate the important aspects of the regime and illustrated what would happen to those that did not come along the Nazi journey.

The Trenker Film

The Emperor of California combines the rugged travails of a man as well as his economic success. Prior to learning about the genre of Trenker films, I watched the movie in terms of it being a Western and a Nazi film. The Western aspects were obvious; the landscape, the danger faced by the characters, and the political strife surrounding gold mining all point to the Western Genre. The Nazi cinema aspects of the film are more difficult to detect. I would argue that Nazi ideals come into play at the end of the film when the life Sutter has created for himself and thousands of foreigners is destroyed because of individual greed. As a group of hard working laborers they survived, as individual thieves they were destroyed.

As a Trenker film, it is also interesting to note that in the end, Sutter does not return to his Heimat; rather, his sons are killed and everything he has worked for is destroyed. This could speak to the idea that Sutter should have returned home rather than attempt to keep the land for himself. Other aspects of the “Trenker” genre are also obvious in the film. The viewer sees Sutter take control of the situation when a traveling partner passes out and Sutter also takes to the mountains to find water. It is clear why Sutter was idealized by the German nation; the ease with which he scales the mountain is admirable and he conquers the western landscape with ease. While there are Nazi themes that can be extracted from the film, the aspects of the Trenker film are clearer. Although Sutter does not return to his Heimat, the movie puts forth the idea that he probably should have rather than staying on the land.

"The Emperor of California"

Considering “The Emperor of California” as solely a Nazi cinema piece is problematic because of its clear distinctions as a Western and Trenker film. This is not to say that the movie cannot be all three, but I found the movie to be a lot more similar to other Westerns and to “The Prodigal Son” than to any piece of Nazi cinema we have seen thus far. I find it tough to classify the piece as pro-Nazi, or anti-semantic, or move along with any real messages from the Nazi party. Instead, I would classify the movie as a Trenker film because of its anti-American sentiments of workers full of greed and disloyalty, its adventurous journey through the wild, and the sense that home is where hard work and simplicity create true happiness. While the argument can be made that hard work to create wealth is a Nazi outlook, there is no credit given to the party when Sutter reflects. Classifying it as a Western is far to simplistic when viewing the deleterious ramifications of the Gold Rush to Sutter’s vision and lifestyle. Trenker portrays Americans in “The Prodigal Son” as greedy, deceptive opportunists, which is exactly how Sutter’s immigrants are depicted. I found that “The Emperor of California” best fits a Trenker film, rather than a Western or Nazi cinema film because of the distinct similarities to “The Prodigal Son.”

Morituri Te Salutant

Fascinatingly enough, Der Kaiser von Kalifornien can be seen as a completely different film with each different perspective. Each scene and image of the film stands for something different in one perspective, and possibly stands for nothing significant at all in another. For example, as a Nazi film, the political dynamics are undoubtedly at the forefront of the movie's plot and set-up. The environment of the West then becomes merely a medium that is used to support the delivery of the political messages throughout the work, particularly as a place to where Sutter flees from the political troubles towards the beginning. As a Luis Trenker film, we see the distinct, recurring theme from several of his other cinematic creations of idealization in relationship to one's homeland, as well as the dynamics or comparisons between city life in modern civilization and life out in rugged nature. However, city life may have much less significance in the film when it is viewed as a Western. The open West is simply more prominent as a characteristic environment in such films, and Sutter's start and end in the cities are only bookends to the volumes of a greater story that happened out in the West.

The Emperor of California: Nazi Propaganda or Western?

Viewing the movie The Emperor of California in light of different genres inherently means viewing it through a different lens and interpreting different symbols as part of a different allegory. For example, if one were to watch The Emperor of California with no prior knowledge as to its historical and political background and instead were told that it was a western, a lot of political importance and symbolism would be lost to alternate interpretations. The central conflict would be transformed from a propagandistic, political struggle, to a simple fight between good guys and bad guys over a legal issue of property ownership. The undertones of economic strife, the connections with unemployment and lack of security in post-World War I Germany, and the Nazi characteristics of Heimat, traditions, and hard work, would at least be diminished, if not completely dismissed. Instead, one would focus on the struggle against the harsh conditions of the west, the heroic adventure of traveling into the unknown, and the clash between old, traditional ways of life and new, modern technologies. Although both sets of symbols and present, and neither can be said to be correct or incorrect (since I believe all works of art can be interpreted by the viewer/reader/listener independently of the creator’s intentions), viewing the film through both lenses at once is problematic, if not impossible.

September 29-October 1

Film: Consider the categories/genres Nazi cinema, Western, Trenker film. How would using the various categories change the interpretation of the film The Emperor of California? Which details would you highlight to make your case that the film belonged to this category?

Those poor, helpless kids

The Hitler Youth is difficult to overestimate in terms of its significance in developing the Nazi regime. Alice Hamilton emphasizes the importance of children in the Nazi regime early on in her article. She explains that she witnessed many public gatherings and demonstrations, involving children, which centered around the swastika and Nazi Party. This notion reminded me of the scene in Hitler Youth Quex when the boy is taken to his new room in Berlin. The officer had just finished having the infamous “our Germany” conversation with Heini’s father, and the following camera shot shows the two (Heini as well as the older Nazi member) happily going into a building with a swastika draped on the outside. Because of the timing of this shot, it definitely gives the impression that “our Germany” must be connected with ideals of a swastika, especially after considering that the boy’s refuge is in a building that supports the party.
Another element of Hamilton’s article struck me as significant. She explains that the generation of Germans that were children during the war, were those that had never had much. Their fathers had perhaps fought in World War I, but their childhoods were filled with ideas of hopelessness and oppression, maturing in a society that can do nothing with its workforce. Hitler Youth Quex appeals to this group of individuals; Heini’s father explains to the Hitler Youth representative recruiting his son, shortly before the “our Germany” comment, that employment has been difficult to acquire since being injured. This injured, incapable German is able to have some of his burdens relieved by the Nazi Party, as the Hitler Youth offers to take care of his son. This part of the film speaks directly to the generation of people that have only seen unemployed and/or distraught parents, and projects the Hitler Youth as a saving grace. Kuhle Wampe also has shows an unemployed father who is struggling to find work, but the film fails to offer the family any sort of redemption from their social oppression. I think this distinction between the two films, especially considering Hamilton’s arguments, helps to understand why Hitler Junge Quex had a more substantial social impact than Kuhle Wampe.

Hamilton and Views of German Youth

The world that Alice Hamilton experienced in 1933 and the world that the viewer sees in the films Hitlerjunge Quex and Kuhle Wampe have one main component in common: the youth are the focus, and they are in control.  Hamilton emphasized again and again the ways in which the youth were taking over Germany through the universities.  She also identified why the youthe were acting in such a way in an argument that few would disagree with thoday.  This is interesting as she was in the midst of the fervor and did have the more objective view of looking back.   In both of the films, we see the same thing happening: the youth are the movers and shakers.  In Hitlerjunge Quex, the Communists are in a rage over the defecting of one boy, which, given the scope, seems ridiculous.  Also, in Kuhle Wampe, it is the female protagonist that finds a new home for her family.  While Hitlerjunge Quex and Kuhle Wampe wer emade with conflicting idealologies, it is clear to everyone who sees them that the youth are the most important players in the world of the films.  This world is the same one seen by Alice Hamilton.

Lord of the Flies-esk

The youth truly do rule the day in both Quex and Kuhle Wampe. In Quex, the Hitler youth have their own agenda. There is only one adult 'in control' of the banner, the banner leader, yet the reality is that no adult has any control over the young. The Communists (who are of course not 'good' in the context of the film) are controlled by adults, who just don't understand. The only thing that matters is doing what is right, by the flag, and by Hitler in order to be the best Nazi one could.

In Kuhle Wampe the characters are older, but still under parental thumb. Instead of being forced to join a party they don't believe in, they are being forced into conforming to a norm, be it marriage expectations or gendered roles. Adults again don't seem to realize that the youth had moved beyond these expectations and were seeking only a way to live on their own terms (or die as the case may be.)

In both films, the main characters escape the rule of adults to create a world where they are in charge. Though to perhaps disastrous results, the point is that the future lies in the youth, and we must all accept that though it might end badly, for now the future will be decided by bread won or lost as the sun continues to rise and set each and everyday.

The Difference Between Two Powerful Ideologies

In Alice Hamilton's article, the difference between the Communists and Nazis is examined. Both Communists and Nazis were centered around this idea of everyone 'uniting' and forming one Germany. The Communist party's ideology focused on eliminating class barriers, no one person was superior to the next. But this left nothing for an individual to be proud of, especially because there was no sense of pride for Germany. Instead it was a pride for the Communist Party; however, the Communist Party was not solely a German political party--Communism was attempting to be the ruling party in many other countries as well. The National Socialist Party (Nazis) represented pride in the country of Germany; citizens of Germany, citizens of every class, were made to feel like they were contributing to the greatness of the new Germany. When previous years, workers had been viewed as the bottom of the classes in Germany, they were now being told they were the backbone of the new Germany. Normally as a child, your identity isn't established further than your first and last name--Hitler gave these children something to be, and something to look up to. They were being told how being German was superior to any other nationality; this allowed a sensation of camaraderie to prevail upon the Hitler Youth as together they despised all non-Germans, and Jews.

In Hitler Youth Quex, the appeal of the Nazi party, more specifically the Hitler Youth movement, is emphasized. We see the Communist Party is filled with a bunch of sloppy looking older men, fathers, who do nothing but sit in smokey bars and drink all of the time. This is in contrast to the handsome young man who talks to Heini Volker and his father when he is recruiting Heini to the youth movement, and to the happy young boys who are part of this club where they meet in a cool location and sing songs together, and laugh and have fun. Having this pride for Germany was 'the thing' to do in the eyes of the youth.

Targeting the Enemy

Hamilton touches on the distinction between the effectiveness of the Nazi Party's pursuit of youth support versus the Communist Party's attempts early on when she states "Both appealed to hatred, both held out an ideal of a changed Germany, but Hitler's propaganda was cleverer than the Communists', because his program is narrower, more concrete." While I do not believe that she is talking about the actual political platforms of Hitler's plans, I do believe that she means the general Nazi message is clear and to follow the means to follow the Nazi movement is far clearer than to do so with the Communists.

Neither "Hitlerjunge Quex" or "Kuhle Wampe" take the time to outline the political goals for their respective parties, yet both make it clear what each party's sentiment is towards their wounded country. Despite these similarities, "Hitlerjunge Quex" is still more effective. While both movies drive in the themes for each party (nationality in "Hitlerjunge Quex" and solidarity in "Kuhle Wampe"), only "Hitlerjunge Quex" uses a means of contrast to prove why the youth should follow the Nazi Party. Regardless of stylistic techniques and plot choices, "Hitlerjunge Quex" appeals more to the youth because it casts a negative spin on the Communist party while still boasting its on image. It is in this point that Hamilton's observations hold true. "Hitlerjunge Quex" tells the German youth to behave like this and don't be like that; the message is clear. "Kuhle Wampe" leaves too much room for interpretation and it is because of that leeway, according to Hamilton, that it loses the appeal to German youth.

Simplistic

Hitler Youth Quex vs. Kuhle Wampe is an obvious win for the Nazi party. Alice Hamilton discusses the issue of simplicity as key to the understanding and absorption of new ideas. The Nazi's had the correct idea in keeping their film clear and concise, the key was to be Nazi, the good and wholesome group that would be the worlds future leaders. Wampe is not about a story or even a clear cut set of ideas. Frequent flashes of non-cohesive images quickly fill the screen and the viewer is left with black as if we were supposed to understand what just happened. The communists may have been going for a different approach, however, the technique used in Kuhle Wampe was not nearly as effective in terms of telling a story, portraying ideals, and getting the facts out that their party was the most supreme in comparison to the Nazi's propaganda. Hamilton understood that the need to "train" a child is that they need to understand, how could a child understand a film most adults are still puzzled by?

The Nazi Propaganda Machine

In light of Hamilton's article it's fairly easy to see and understand the clearly successes of Hitler Youth Quex over a film like Kuhle Wampe. The concreteness and clarity of the Nazi message she describes is so present in Quex. We understand at the films conclusion not only exactly what it means to be a Nazi but also what it means to be a communist. Both groups are clearly outlined and expressed in the film. Kuhle Wampe on the other hand is a series of muttled images and confusing individual statements. If the youth fail to comprehend the message of Communism how are they to support it? Especially when Nazi propaganda is portraying the communist movement so clearly in such a dynamically negative light.

It is also worth considering in this circumstance the intended audience of the films and the strength of true narrative form with a younger audience. Kuhle Wampe simply does not appeal to a young mind, it is to roundabout and baffling, the provocative instruments contained within its subject matter and are lost upon this age demographic due to both the young's lack of patience and lesser powers of comprehension. Quex on the other hand, with its tremendous simplicity and relatively quick moving storyline does appeal to the younger crowd. Therefore it is natural that the group that targets the youth will win them over.

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.

Hamilton - Hitlerjunge Quex - Kuhle Wampe

Alice Hamilton’s article, “The Youth Who Are Hitler’s Strength,” reinforces the compelling influence of youth activism in Germany, a theme that is exposed in both Hitlerjunge Quex and Kuhle Wampe. She finds that such activism is fueled by an inherent sentiment of discontent plaguing a post-war generation that began their lives in an environment characterized by economic instability and social stratification. Thus, Hamilton connects the Communist and Nazi movements to a desire for change that is shared amongst the German youth.

Hitlerjunge Quex effectively propagates the strength of the Nazi movement through its overtly idealized portrayal of the Hitler Youth as leaders within the fascist revolution. Heini initially struggles with the pressure and expectation of becoming a Communist, but ultimately joins the Hitler Youth – a testament to his belief in the stability and strength in the Nazis. The older generation of Communists in Hitlerjunge Quex is symbolic of complacency and the failure to make progress in personal and national welfare. Hamilton’s article interestingly refers to the dichotomy between the German youth and their elders through her account of German university students who demanded the discharge of ‘liberal’ professors and ‘intellectuals’ who failed to promote the progress of the Nazi movement.

This generational division is also evident in Kuhle Wampe, which comments on the discontent of the Communist working class by revealing the hostile economic climate in Germany. Anni’s parents lack the motivation to improve their own welfare because they are dependent on their children to provide for their family. In the culmination of the film, it becomes clear that the youth are the ones who are committed to change.

Hamilton, Kuhle Wampe, Hitlerjunge Quex

Alice Hamilton’s article provides an overarching foreign perspective of the sentiments of the German youth and young adults that are portrayed in Hitlerjunge Quex and Kuhle Wampe. The article details the background of the youth in Germany in 1933 growing up in a harsh economic depression around adults who were at the forefront of Germany’s fall after World War I. Hamilton writes about a worker who described the children of the time coming into manhood without realizing the connection between work and food. Describing Hitler as a child himself, Hamilton gives the reader an understanding of the brilliant propaganda that repudiated internationalism, hatred towards the Jewish, and opportunity for the poor youth through an appeal to national pride, comradeship, and stability. An unidentifiable youth that grew up in miserable circumstances is exactly the portrayal of the characters in both Hitlerjunge Quex and Kuhle Wampe.

Hitlerjunge Quex’s storyline is about the exact dynamic that Hamilton describes between the Communists and Nazi groups attracting the German youth. Heini faces the same issues and was attracted to the Nazi’s in the same way that Hamilton describes the appeal to German nationalism as opposed to an international Communist brotherhood. The Nazi structure of uniforms, marching, and singing all appealed to Heini in direct contrast to the unstructured, evil-spirited, and immoral Communist youth group.

Kuhle Wampe gives a better portrayal of the young adults during the early 1930’s concerning the unemployment struggles, disparity with the older generation, and confusion about which direction to move in. While the young adults in Kuhle Wampe do not associate with a party, the growth of the generation is evident from the suicide at the beginning to the marching and singing away from the camera in the final scene. Everything that the Nazi party embodied regarding the end of social class as well as comradeship in an effort to make change are distinct features of the goals of the four young adults in the train scene when they bickered with the “ignorant” elder generation. Overall, Alive Hamilton’s article about the movement of the young Germans in 1933 is portrayed in both Kuhle Wampe and Hitlerjunge Quex: one about the need for change during the pre-Nazi movement depression, and the latter about the qualities of the Nazi Youth embodying heroism and unity.

The Effect of the Films on the German Youth

            While Hamilton’s entire article provides a fascinating insight into the effect of the Nazi movement on the German youth immediately following Hitler’s rise to power, I think it is her comparison and analysis of how and why the Nazi party was more effective than the Communist party at recruiting young people that is most interesting.  Hamilton explains that the Communist theme of a universal brotherhood and unity with the working class was too vague and far-reaching to really appeal to young people, whereas Nazi ideology gave the German youth a tangible sense of national identity through their promotion of German heritage, as well as provided them with a universal enemy in the Jew.  Kuhle Wampe and Hitler Youth Quex are both perfect cinematic representations of these two ideologies and their attempt to gain a youthful following.  Kuhle Wampe, with its highly stylized “epic theatre,” slow progression, and lack of identifiable characters, would not have been particularly appealing to young audiences.  The basic ideology of Communism is communicated in the film, but it is not highly recognizable, and there is no clear organization or group to attach a loyalty to in the film.  Unlike the Hitler Youth that is clearly extolled and appears appealing in Hitler Youth Quex, Kuhle Wampe does not present the German youth with a solid organization to join.  Furthermore, while Hitler Youth Quex presents Heini as an identifiable character and martyr for German youth to look up to and emulate, the characters in Kuhle Wampe are less sympathetic and relatable.  As Hamilton explains in her article, the Hitler Youth movement, as Hitler Youth Quex exemplifies, gave the German youth a “hero” to look up to and an ideal to aspire to in Hitler, whereas the Communist movement had little to offer in terms of a living hero of the cause.  Finally, the Hitler Youth movement encouraged young people to dedicate themselves to the cause out of patriotism and dedication to their homeland, giving them a sense of pride that they may not have had in anything before.  On the contrary, as is exemplified in Kuhle Wampe, the Communists attempted to persuade the German youth to join an intangible international community that hardly would have had the same appeal as the exclusivity of being an ethnic German.  After reading Hamilton’s interpretation of the differing impacts of Communism and Nazism on the German youth, the movies Hitler Youth Quex and Kuhle Wampe now seem to be cinematic representations of each party’s strategy in recruiting the youth of Germany.  

September 22-24: Alice Hamilton, Hitlerjunge Quex, and Kuhle Wampe

For this week's post, consider the Alice Hamilton reading (on OAK between weeks 2 and 3 in the "Course Readings" folder) in relation to Hitlerjunge Quex and Kuhle Wampe. Use either the films or the reading as your focus.