Freedom to be a Hero

In class today many of the other students felt that Dr. Nagel was not deserving of praise for rescuing Astrée; rather, they believed him to be boring when compared with the talented Don Pedro. Although it is true that Dr. Nagel may be somewhat bland when pitted against Don Pedro, I do not believe he was intended to come out as boring or unworthy of the audience’s praise. I believe that the director chose to focus on Dr. Nagel’s worth against that of his companion, Dr. Gomez, from Brazil. Dr. Nagel spends the majority of his time in the company of Dr. Gomez, and interacts very little with Don Pedro. The audience has no choice but to focus on the strength and status of Dr. Nagel when he is in a room with Dr. Gomez. For example, when the two men are in their hotel room in Puerto Rico, Dr. Nagel is the man giving orders to Dr. Gomez and instructing him on how to work on the cure for the fever. This scene functions as proof to the audience that Dr. Nagel is in charge and has the strength to complete the tasks set before him.

One contradiction the audience is witness to is Dr. Nagel’s behavior following the receipt of an invitation to Don Pedro’s house. Dr. Nagel becomes overly excited, running around the room and focusing on his appearance rather than his work on the cure for the fever. The only explanation I can find for this change in behavior is that the audience is supposed to see Dr. Nagel’s love for Astrée. While Don Pedro is solemn in his adoration for her at the beginning of the movie, Dr. Nagel is wildly ecstatic about the possibility of even being in the same house with the woman he loves. The audience never sees Don Pedro in anything less than his full suit whereas Dr. Nagel can be disheveled. This theory is further supported by Dr. Nagel’s interactions with Juan. While Don Pedro does not take a role in raising his son, Dr. Nagel is immediately drawn to the boy and plays with him on the sled. Dr. Nagel is a family man, with no qualms about openly showing his affection. This is not a weakness, but a strength that Don Pedro does not have. In the end, it is the freedom Dr. Nagel has to show his feelings that make him the true hero.

Who’s the true hero of “La Habanera”?

After watching the film I was pretty sure that Don Pedro was the bad guy and Sven Nagel the hero of the movie - especially if one thinks about the fact that the movie originated from the Nazi period. A Swedish doctor trying to rescue Puerto Rico against its will would fit too well into the image of depicting Aryans as the superior race to southern people. But after re-watching the first scene my mind changed.

In it Don Pedro is not portrayed as the devil that one probably has in mind after watching the movie. On the contrary, he is depicted as the hero, e.g. when he kills the bull after the torero failed and therewith saved the torero’s death. But already the first scene when he appears sets him clearly apart from the rest of the people. He is sitting on a black horse, is completely dressed in black although his clothes are still very elegant and wears a black hat. The camera work supports the image of him being superior as he is usually filmed from a lower perspective. Also the reaction of the people towards him shows that he is some kind of folk hero as people respect him deeply and follow his instructions immediately. Later at the bull fight scene the crowd sheers on him as he arrives and waves towards them. One of the shots that shows him from behind with the yelling crowd in front of him even reminded me of famous scenes with Hitler standing in front of the cheering crowd. It is somehow confusing that this person is supposed to be the bad guy in the end as this does not support the Nazi regime at all: a leader as the bad guy is really contradictory to the third Reich policy.

But thinking about his further acts instead of letting oneself distract from the devilish way he is portrayed one can still see that he is the hidden hero of the movie. He only wants the best for the people. Knowing that if the international press writes about the disease, the international trade would stop and therewith much more people would die of hunger than of the disease he tries to prevent Sven and his fellow from doing their research. His decisions are based on rationality and his death is just another sacrifice he was ready to give for his cause – a motive that can be found in many other deaths of great heroes.

October 13-15: La Habanera

Identify and defend your categorization of the film's hero, either Don Pedro or Sven Nagel. Think about the different ways each character is presented, cast, shot. Take the complexity of each character into account when making your argument. One option would be to pick a scene and discuss how it functions for the audience. Consider how lighting, sound, and the edition of shots function, including how they seem to represent specific cultural values.

If you prefer, you can instead tease out problem points, where you believe the scene to change shots, perspectives. Be sure to also make use of the actual film: lighting, editiong choices. It may be productive to think of the film in terms of things which are not included.

The Broken Jug

My initial impression of the Broken Jug was that it did not overtly convey political propaganda to the extent that other Nazi films of the time did, such as Hitler Youth Quex. However, as discussed in class, it is clearly important to evaluate this comedy based on the context in which it falls within German history and politics. Accordingly, if I were to write a paper on the Broken Jug, the film’s most direct parallel to Nazi film and propaganda would be based on its portrayal of Adam as a corrupt, gluttonous, dishonorable figure who fails to uphold his duties as a judge, effectively making him a detriment to society. By stereotyping Adam as the opposite of the German ideal, the film denounces cowardice, irresponsibility, and the failure to promote the welfare of society.

In addition, the Broken Jug’s apparent references to Adam and Eve – symbols of weakness when exposed to temptation – seems to allude to the Nazi’s disapproval of weak individuals who lack discipline, especially when the implications of their actions can negatively affect the greater good. Adam who is supposed to be an upright individual as a judge, fails as an individual society – he is a drunk and a liar. Eve also falls victim to similar shortcomings of character as she cannot stand up for herself until the end when she realizes her boyfriend will be sent off to jail – she is selfish.

The Broken Jug

The Broken Jug is best understood as a nazi film when it is related to the original play by Kleist. The differences between the two delineate a good place to begin understanding the nazi aesthetic of the film. When compared to the original play, the film reveals itself as a nazi film, but it is not propagandistic, really. The film is influenced by nazi ideals, as evidenced in the resolution at the end of the film versus the breakdown of law and order in Kleist's play.
There are other indications that this film is a nazi film; the character that is the comedic buffoon, [Judge Adam] is the 'villain'. This fits because overall, there was not very much funny about the nazis- the nationalism and work ethic left little room for humor, I guess. Or maybe the nazis were very funny: about half of the films they produced were considered 'happy films.' Maybe history has imposed this humorless stereotype.

The Broken Jug (This film has been edited for content)

So, the broken jug is definitely not a "Nazi" Film in the purest sense. This, however, does not mean that it wasn't made in such a way as to praise nazi values and to downplay anything suggested by the play which might be controversial. For instance, the idea of a person in a position of power abusing it is not the best story line for a film being released under a totalitarian regime. In response, the Judge is made an example of as a failed leader and an undesirable from the very beginning. In this way instead of causing people to question Hitler's authority they become grateful that their leader is not like the judge. Also the film takes advantage of the judge to show what kind of members of society should be outcast. Essentially, although "The Broken Jug" is not an overtly nazi film, it still falls in line with nazi values.

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Because the Broken Jug is a comedy, the message of Nazi imagery and propaganda is significantly less obvious because there are two goals, one is to promote the message of the Nazi Regime and the other is to make the audience laugh, two highly contradictory goals. The film is supposed to describe a society where the authority and order is broken, and the humor and opportunity for laughter in this situation. I liked to previous blog about this being a Nazi film, where we are able to laugh because this notion seems highly ironic and somewhat disturbing. My paper would focus on the challenge of promoting Nazi regime ideals in a way that is comic. It is easy to see why Goebbels did not like this film. The film’s moral of the story is that laws and authority cannot always be trusted, and Goebbels promoted that laws and authority will ultimately save the people. This film is most definitely a satirical false and my paper would focus on the irony that the judge who in the end is indentified as the guilty one conducts the trial. The message of the film is also about the failure of the justice system and how the judge allows his personal goals to interfere with his public ones and the harder he tries to cover them up, the deeper his lie becomes. The director begs the question, what does it mean if our judges are criminals? Who can we trust? What defines law if the system is corrupt? Because this film fits into the “happy films” category, there are strong elements of humor concerning the clumsy Judge Adams, who represents the disorder and uncleanly group that the Nazi Regime is so desperate to expel and exterminate. The propaganda in the happy films is much more covert propaganda, the message is that man’s private behavior disregards justice, which can be further analyzed that private behavior leads to corruption. Thus Nazi society should be thought of as a whole and not as individuals. We talked a lot in class about the significance of the male body; the physicality of the male body was a crucial part of the propagandist image of the Nazi in the 1930’s. The abnormal figure of Adam was both the object of humor and disdain and buffoonery is the embodiment of what a proper Nazi citizen should not look like. While his physical image is amusing, it sends the message to the audience that those clumsy in appearance will be clumsy individuals and make more private life decisions that affect the greater whole of society.

What the Judge Stands For

While this isn't the best way to start a 'paper,' I have to preface this with how unsure I am about my argument. The judge symbolizes everything the Nazi party doesn't stand for. He has broken the laws of society which he was supposed to enforce. He is an alcoholic who has not curbed his habit- this disease has made him a weaker person. The Nazi party is all about strength and will power. It is not about the blunders of one civil servant. The community would fall apart if individuals kept making the same mistakes as him. His immorality goes against the code of ethics that define the Nazi party. The fact that the judge failed in covering up his screw-up shows that those individuals who go against the society will hinder the progression of the society as a whole and will ultimately be found out.

From the Stage to Film to Paper

As was noted in class, German cinema during the 1930's heavily relied on the production of "happy" films. I believe it would be important to understand why the Nazi regime embraced this genre, and "The Broken Jug" in particular, when it is not the genre typically connected with propaganda or political messages. The first step would be to show which aspects of the movie fit the archetype for Nazi propaganda. Here I would detail how the lazy, alcoholic, disfigured, sinful judge broke the own laws he stood for until the noble court examiner thrust him out of town with the help of the good townsfolk; this was not so unlike the Nazi plan for the "plagues" on a pure German society (Jews, gypsies, etc.). Next, I would analyze the role of characters like Judge Adam in Nazi films. For instance, in Quex the Hitler Youth that was a drain on the Nazi cause (throwing away propaganda fliers and fraternizing with the Communist girl) was shown as an outcast due to his actions against the party. These sort of characters show what happens to those that don't fit in with the plan for a better Nazi future. Lastly, I would show any differences made from the original play to the film adaptation that better adapt to Nazi culture.

Nazi Comedy?

It would be very difficult to find any political propaganda in The Broken Jug, so the best way to look at the movie in the context of Nazism is to look for evidence of Nazi cultural norms. Of course it would be best to do this with a comparison to the original Kleist play, but it is possible to notice some peculiarities without knowledge of it. In class we discussed the portrayal of the judge, his deviance from accepted standards of conduct, and the portrayal of his body. Although it is a stretch to claim that disdain for a criminal is a specifically Nazi phenomenon, it is at least not anti-Nazi. One other aspect we could look at is the character of the official from Utrecht. His character evolves from inspiring fear and mistrust to, as the audience slowly learns of Adam’s guilt, being a species of hero. Indeed, I believe we mentioned in class that the scene at the end, where the official ensures Ruprecht that he is not required to go to the West Indies, was not in the stage version. I may be wrong on this, but regardless the progression of the character could be interpreted as representing the benevolent function of central government power. Another interesting point is the role of women in the film. I hesitate to analyze this without a comparison to the stage version, however, or even without having a full understanding of the dialogue (since I saw it on Sunday night). If one were to do so, one could look at how women are portrayed in both. Do the mother’s protests seem legitimate or hysterical and exaggerated? How do the other characters view Eve, knowing that she had a male visitor (i.e., do they consider her to blame for a perceived offense?) How is the woman who saw the devil portrayed, is she made to seem foolish? These are just some of the questions one could ask.

The Broken Jug, a Nazi Film?

I do think that there is a correlation between this film and the Nazi regime. I do think that Adam is a perefect example of the type of person that Hitler wanted to get rid of. He was definitely not the "Good German" that Hitler was trying to create, and the fact that Adam get's run out of town is parallel to Hitler trying to get rid of all the Jews, mentally ill, gypsies, etc. Adam, who is constantly drinking throughout the film is not only a drunk, but a horrible judge at that. At the begining of the film he is waking up late only to discover many gashes and bruises on his body. The representation of Adam being so unkempt is exactly opposite of how Hitler wants his german people to be. It makes sense that hitler would really like this film, because the loud, obnoxious, unkempt, drunk Adam is run out of town in the end, therefore the problem is solved. Ironically that is exactly what Hitler tries to do solve the problem of the Jews, through a more violent method.

Serving Two Purposes

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?

The Broken Jug did not immediately strike me as a Nazi film, even though I knew it was. The movie centers around a fool and was based on sticky situations and slapstick comedy for laughs, all characteristics of comedies and not necessarily Nazism. However, upon further review, these characteristics of comedies can easily double as tools to further the Nazis’ cause. If I were to write a paper on The Broken Jug as a Nazi film, I would show how certain aspects of the film were used for comedic and propaganda purposes.

The “fool” (Judge Adam) represents the opposite of the ideal German man. He is a fat, clumsy and gluttonous drunkard. Although his job is to maintain order, he is the actual criminal and attempts to punish an innocent man for his own crimes. Instead of taking responsibility for his crime, he puts himself before everyone else and tries to protect his reputation and livelihood. The film uses him as the example of the weak, cowardly and greedy person, the opposite of the ideal for which they strive.

The sticky situations are comical in that we can see the characters trying to squirm out of them but are also telling of the Nazi agenda. Adam is forced to make up lies to cover for his missing wig, scars and lack of knowledge of the legal system. Instead of owning up to his shortcomings, he tries to weasel his way out. While his lies brought hilarious consequences, they showed how weak and cowardly he was, which ultimately led to his demise. This is another example of the ideal man shown by the Nazis and is persuasive as a Nazi film.

Wait. Wait. Wait. Nazis can laugh?

If I were address the Broken Jug in a paper I think it would focus on comparing in contrasting. Contrasting the original play with the film, contrasting the contextual influence of this film with more dramatic films of Nazi cinema, and finally contrasting the comedic value of the Broken Jug with its Hollywood counterparts. In so doing a more conclusive understanding of the film itself would be gained particularly defining its position as a piece of Nazi Cinema.

First, I would compare and contrast the Gustav Ucicky’s version of the Broken Jug with the original Kleist play. What was different? What was the same? Emphasizing that the Nazis had a purpose behind everything, what were the motivations in the alterations they made to the play, and what was the resulting impact.

Second, I would address the actual contextual location of the film within the scope of the party’s reign. Recognizing the importance that it is indeed a Nazi film, despite being a comedy, which is a point to me that was surprising (Seriously, I had no idea that Nazis had a sense of humor since that they are so mad all he time). Addressing the influence of comedic film under the party, and emphasizing the value of the breadth of Nazi film not blatantly having to do with political issues, as we see with the likes of Hitler Youth Quex. Importantly, the question of, “why they would use comedy?” must be answered. Was it to show that the party was well rounded, were they still political? This is probably the most critical question of Nazi “Happy Films,” being their true nature.

Finally, I would like to look at the film providing at the film as if it were not made in Nazi Germany, but perhaps by Hollywood. Does it still have comedic value as a film if you remove it form the Nazi context. Is that value increased? How would Hollywood have made it differently? Another interesting question that this would raise, and perhaps would not fit in this essay, but, what type of social messages do Comedies send, what is the extent of their commentary on societal values: was a Nazi comedy really all that different from a Hollywood comedy?

The Broken Jug

While perplexed in many ways about this film, there are some key points from this movie that could be used to help understand how this would relate to Nazi cinema. The first, and probably the most obvious, was the choice to use the names Adam and Eve. While there is some sort of "unknown" connection between Adam and Eve, which is implied to be sexual, I believe the use of these names help us to understand that corruption on any level will lead to destruction. Although you could say that Eve was the temptation for Adam's downfall, Adam is a man with free will and choice and it seems that Adam's actions bring them both down. Now, although the end of the movie seems to leave everyone happy, Adam and Eve are separated, which tears apart the "creators of the beginning". I'm not sure if you could look at this as a way for demonstrating what might happen if the creators of the Reicht did not stick together, but I think it is an interesting image to ponder.

Secondly, Adam is a man of power and position inside this society, and we once again see a character of standing fall into the hands of temptation and corruption. This is yet again another demonstration of what not to embody for the Nazi regime. A man of power was not supposed to in any way be a liar to those he worked with, even if what they stood for was unjust in itself. This was a way for the regime to illustrate to their men of power what might happen if they decided to keep secrets from the others - they would be cast out, left to find their own way, with everyone behind laughing and rejoicing at his demise.

“Der Zerbrochene Krug”- a piece of Nazi propaganda?

Thinking about “Der Zerbrochene Krug” as a piece of Nazi propaganda, the only connection that came to my mind was that it brings the chaotic world back into the right order. By dismissing the judge at the end of the play, order is restored. The judge can be seen as the “bad”, the “evil” that disturbed the order. When he is deleted in the end, the society is restored like it should be. Thinking about the Nazis that wanted to erase several groups from their society, from Jews to mentally retarded people, to create a pure, clean and perfect society, the play can be understood as a piece of Nazi propaganda. Especially if we regard the upper-judge as a symbol of the” perfect” German man: he embodies a lot of typical German values like punctuality, strictness, discipline or correctness. One could interpret that he stands for the Nazis who try to restore order to Germany by enforcing these values and deleting everything that is against them.
But there is no evidence for this theory except that it was produced during the Nazi period. Thinking about this fact I decided to check on the internet if I could find anything about being this movie Nazi propaganda. One of the descriptions of the movie I found was this: “The verbatim Kleist adaptation with which Ucicky wanted to save his reputation as an "unpolitical artist". Consequently it can’t really be a piece of Nazi propaganda because it is almost word for word spoken as in the original which was written in 1806 by Kleist. At this time the Nazis didn’t even exist. Furthermore the intention of the director Ucicky was an unpolitical one, thus it can’t be a piece of Nazi propaganda neither. This description was in accordance with all other descriptions that I found. That it isn’t Nazi propaganda although it was produced during the Nazi period.

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?