|November 3rd, 2013||#1|
The Epitome of Evil
Join Date: Aug 2007
Location: The Unseen University of New York
The Anti-Jewish Themes of Goebbels' 'Jud Süß'
The Anti-Jewish Themes of Goebbels' 'Jud Süß'
Goebbels' 1940 film 'Jud Süß' (or 'Jud Süss') is possibly the most famous film of the Third Reich with its only rival being the similarly well-known 'Der Ewige Jude' that was also released in 1940. Out of the two 'Jud Süß' was far better received in terms of box offices figures, but 'Der Ewige Jude' was better regarded among the NSDAP's leadership.
This is ascribable in large part to the fact that the two films covered similar ground and themes, but yet differed drastically in how they presented the information. 'Jud Süß' presented it as part of engaging tragic love story with the back drop of the exploitation of the German city of Stuttgart by the historical jew Josef Süß Oppenheimer, while 'Der Ewige Jude' presented the information as part of a; for the time, rather gritty documentary, which despite being common today this type of presentation always has less viewers, but those viewers it does have are more likely to be politically and intellectually active.
As part of a series of articles covering both of these best-known pieces of anti-jewish cinema: I will begin by describing the anti-jewish ideas and themes that underlie 'Jud Süß'. These are fairly standard for their time as they can be seen particularly emphasized in the pages of Julius Streicher's infamous 'Der Stürmer' (1) as well as Reich-era popular anti-jewish material more broadly. (2)
They embody the essence of anti-jewish social criticism; both then and now, and are as such worth discussing in some detail.
To begin: the overarching plot of 'Jud Süß' is based around the simple story of the ascension of the son; Karl Alexander, of the late Duke; Eberhard, to his father's position as the Duke of the German territory of Württemberg. We first encounter Karl Alexander during the ritual ceremony of his being sworn in as Duke of Württemberg in the capital of that province: Stuttgart. Karl Alexander is a portly man much given to the life of a soldier; which was his former occupation, and while he explicitly swears to do good by his people: he also wants to live a life of luxury and excess.
This is symbolized nicely in 'Jud Süß' as being Karl Alexander's demand (not wish) to be provided with a large personal bodyguard of soldiers, an opera and a ballet. These are the good things that the new Duke has become used to in his military career and so now he wants to be able to enjoy them in his new Dukedom. This also applies to his wife; the Duchess (who unlike in Feuchtwanger's original novel is a minor character in the film), who wants an expensive gift to celebrate the ascension of her husband to his patrimony.
The problem is that this desire for luxury and fast-living fundamentally conflicts with the financial condition of Stuttgart and Württemberg more broadly. As the city council tells us they have the money to provide a personal bodyguard to the Duke; which they allow him given he is an old soldier, but they cannot afford to create an opera and ballet for the Duke's personal enjoyment. This is because; as the city council implies, this not the first raft of expensive demands the Duke has made since his coming into his patrimony, but is at the very least the second.
Simply put: the city council does not have the money or the amount of income from taxation to support the Duke's lavish and excessive desires on a sustained basis. With the city council and Duke Karl Alexander in open conflict: one of them has to break the deadlock or cave in.
Thus enter the jews who have been banned from Stuttgart; and Württemberg more broadly, for centuries. The Duke sends one of his trusted agents to the nearest jewish quarter to meet with a jewish financier named Josef Süß Oppenheimer in order to arrange for an expensive present; a long pearl necklace, to be made to the Duchess. Oppenheimer shows the Duke's agent his princely wealth in his safe and offers to sell the Duke the necklace for 50,000 Reichsthalers, but it is only in fact worth 10,000 Reichsthalers. The balance of 40,000 Reichsthalers he tells the Duke's agent is meant to allow him to start a new business.
The Duke's agent guffaws at this exorbitant price and states that while the Duke is rich: he is not that rich. Oppenheimer smiles and suggests that a deal might be struck whereby the Duke can have the necklace for free, but that in order to negotiate this deal: he needs to meet the Duke in person.
The Duke's agent guffaws yet again pointing out that it is illegal for Oppenheimer to enter Württemberg let alone Stuttgart itself, because he is a jew. Oppenheimer waves away the concern saying that if he can get a pass then he will come in disguise to Stuttgart to meet with the Duke. This assuages the concern of the Duke's agent and he agrees to arrange it.
Thematically the above is focusing on the fact that good thrifty governance; as represented by the city council, is something that happens when there are no jews around, but that decadence and extravagance in government are the key to the entry of jewish influence into governance. Since when a government overspends its income repeatedly in order to cater to the whims and needs of the few: then it means that government will need to seek a new source of financing for its excess once its own income begins to run dry.
One source of increasing this income are the jews who have a great deal of money, but who in return for that funding seek both usurious profit (as expressed by Oppenheimer's servant Levy and later by Oppenheimer's Rabbi) and access to ways to rule and fleece gentiles of all their worldly goods so that all the jews may become wealthy and prosperous (as expressed by Oppenheimer himself).
Essentially by seeking funding from the jews to support living beyond your income for an extended period of time then 'Jud Süß' tells us that the jews will seek ever greater boons and control over you. This then; as we shall see, ends up in financial slavery to the jews, which in real terms creates total governmental slavery to them, which ends with the constitution of the state being destroyed by the jews in furtherance of their own interests.
This; as I have mentioned, is the central anti-jewish theme of 'Jud Süß': that when a society is free from jewish influence it becomes a better and more just and equitable for all, but conversely to that there must ever be a vigilant eye kept out for those in positions of responsibility who show weakness; represented in the Duke and Duchesses' selfish and spendthrift habits, which may allow jewish influence to creep back in and create a society in which only the elite and the jews prosper.
Following on from this in the story: we find the now suitably gentile-looking Oppenheimer (having removed his jewish clothes and locks) making his way to Stuttgart via the main roads, but Oppenheimer's driver is deliberately speeding and driving his carriage like a lunatic with Oppenheimer egging him on to drive faster and faster. This leads predictably to a traffic accident with Oppenheimer's carriage overturning on a corner and resulting in Oppenheimer violently blaming his driver for going too fast in a fit of Chutzpah.
This lack of irresponsibility on Oppenheimer's part is more broadly an element of a sub-theme in 'Jud Süß' which focuses on jewish impudence towards gentiles. The sub-theme asserts that the jews behave outrageously towards gentiles and when they do something wrong; such as Oppenheimer's speeding and dangerous driving, then they claim it is someone else's fault, (3) but it is never ever theirs.
Whilst Oppenheimer is cursing his misfortune on his driver and society more broadly: he happens onto a piece of good fortune with a young lady of good mercantile birth coming upon him in her carriage. This is Oppenheimer's first meeting with Dorothea and she innocently enough offers to give him a lift to Stuttgart where she is also heading.
Oppenheimer obviously accepts and we see him engaging in attempting to sweet talk Dorothea with how many far away places he has visited and lived (i.e. he is stateless and a true international jew hence he feels at home anywhere and everywhere) which she wants to visit and see as well as showing an indication or two of sexual interest in her on the way that causes her to become visibly uncomfortable (all the more so as she is engaged to be married to a clerk of the city council named Faber).
Once he successfully arrives in Stuttgart: Oppenheimer is introduced to the Duke and offers to give him the pearl necklace for the Duchess as a gift to show his loyalty to the Duke. This causes Duke Karl Alexander; exasperated with his conflict with the city council over his reckless spending, to remark that Oppenheimer is more generous than his council. Oppenheimer queries what the Duke means by this and the Duke pours out his financial woes to the jewish financier who then offers to pay for the Duke's ballet so as to provide entertainment for him.
This is symbolized in 'Jud Süß' by the fact that on making this offer: Oppenheimer opens a leather bag and pours out a large number of gold coins (i.e. Reichsthalers) for the Duke to use in paying for his ballet.
This seemingly generous act on Oppenheimer's part has a sinister purpose in so far as it allows him to ingratiate himself with the Duke so that he can begin to make himself indispensable to him. This is part; as Oppenheimer tells his servant Levy earlier in 'Jud Süß', of his plan to open up both Stuttgart and Württemberg to the jews: allowing them all to become rich on the back of the gentiles by essentially becoming the middle class parasitical exploiters of the labours of the peasants, urban workers, craftsmen and merchants (which is not unhistorical at all). (4)
This is facilitated by Oppenheimer's taking the Duke's advisor; Herr von Remchingen, aside while the Duke is engaging in adultery with a ballet dancer to whom he took a particular fancy in the next room. Oppenheimer proposes to von Remchingen that the Duke's land is completely underexploited and that with proper management this land could bring the Duke a substantial income, which could then pay for his expensive tastes such as the opera and the ballet.
Facilitating von Remchingen's willingness to listen to Oppenheimer is the fact that the latter has just settled the Duke's many outstanding debts gratis (which is yet another play to ingratiate himself with; and make himself indispensable, to the Duke) one of which was a whopping 342,000 Reichsthalers. This ploy is outrageously successful as von Remchingen takes Oppenheimer and his proposal to the Duke as soon as he emerges from bedding his paramour from the ballet on the adjacent balcony.
The scheme that Oppenheimer proposes to the Duke is to begin to charge the people of Stuttgart and Württemberg to use the Duke's roads; via the creation of toll houses, so that the money can be ploughed back into maintaining the roads (in reality going to Oppenheimer's pockets) as well as increasing the Duke's ability to pay for his luxurious lifestyle and extravagant entertainments (since the Duke directly gets a percentage of each toll).
Oppenheimer naturally enough presses this scheme and it is the promise of a massive increase in revenue as well as misplaced trust in Oppenheimer; given that he has settled the Duke's debts with his creditors, that causes the Duke to agree to it. Oppenheimer however has one small additional request to ask: he wants to administer the new toll houses and the roads in general as a reward for having settled the Duke's debts and also paid for his much loved ballet.
Duke Karl Alexander; after a bit of dithering about whether it is a good idea to hand over the administration of Württemberg's roads to a jew, agrees.
Thematically we can here the status of the international jew as a stateless wandering swindler who is home everywhere but yet nowhere being enunciated. With a notable sub-focus on the sexual libido of jews in their desire to deflower any woman who takes their fancy. So that; much like with the jewish attitude towards money suggested by 'Jud Süß', the jews are sexual as well as usurious predators: indeed; as 'Jud Süß' suggests later in the film, the jews do not love, but are overcome by purely sexual desire. In much the same way that an elderly jew named Isaac is depicted in the opening scenes of 'Jud Süß' leaning out a window with a young slatternly-eyed jewess named Rebecca who he has clearly been taking to bed.
This sub-focus suggests that no woman is safe around jews, because jews will make it their mission to have sexual relations with them and that these relations are never for love, but merely for the fulfilling of their carnal appetites and the pleasure of manipulating women as shown later in 'Jud Süß' when Dorothea is raped by Oppenheimer.
Now bringing back our notice to my initial comments as to the overarching theme to the plot of 'Jud Süß': we should comment that the theme once again is played too with the bad governance of Duke Karl Alexander being exposed in his overspending of monies collected by taxation on his luxuriant habits. This has created the weakness which Oppenheimer exploits to gain a partial foothold in Württemberg so that he can begin to take over the financial operations of the state and thus become the true ruler of Württemberg with the Duke as but a figurehead.
(1) On this see Dennis Showalter, 1982, 'Little Man, What Now?: Der Stürmer in the Weimar Republic', 1st Edition, Archon: Hamden
(2) On this see Jeffrey Herf, 2006, 'The Jewish Enemy: Nazi Propaganda during World War II and the Holocaust', 1st Edition, Harvard University Press: Cambridge
(3) A theme common to anti-jewish material in the Third Reich. On this see Showalter, Op. Cit., pp. 144-146
(4) Explicitly stated in; for example, Max Isaac Dimont, 1984, 'The Amazing Adventures of the Jewish People', 1st Edition, Behrman House: New York, pp. 94-95
This was originally published at the following address: http://semiticcontroversies.blogspot...bbels-jud.html
|November 4th, 2013||#2|
Join Date: Apr 2013
Location: In the land of Hockey Hosers(Canada)
Interesting, I'll have to see if I can find an english dubbed version of these two movies you have mentioned.
Thanks for the head's up Karl.
|November 5th, 2013||#3|
The Epitome of Evil
Join Date: Aug 2007
Location: The Unseen University of New York
Our story continues with Oppenheimer now in control of all of the roads and bridges of Württemberg having persuaded Duke Karl Alexander by dint of arguing that the roads and bridges of the province are being used free of charge by the populace, but yet it costs the Duke a large amount of money to provide for their maintenance. He also uses the precedent of the Emperor of the Austro-Hungarian Empire who; according to Oppenheimer, has numerous jews making him money (a reference to the beginnings of the Rothschild family): so why shouldn't so a great a European potentate as the Duke have the same in his principality?
However in doing this we are told in 'Jud Süß' that the Duke is overstepping his constitutional powers that he had sworn to respect and uphold in his investiture ceremony. This is demonstrated nicely by the fact that the city council is shown having a debate where this is stated and also by virtue of the depiction of the oppressive and quasi-omnipresent nature of the toll booths that have now sprung up all over Württemberg.
We are treated to one scene in particular where Oppenheimer's servant Levy is collecting the tolls from the guards at a booth (Levy just being symbolic of the fact that the jews have now moved in Stuttgart in force and act directly as Oppenheimer's legal enforcers) when a peasant turns up with a cartload of foodstuffs. The peasant naturally enough gripes to the guards and Levy that he has already paid a toll, but Levy interferes and starts talking financial gobbledygook about percentage profits, rates of interest and how the farmer is actually better off now because he is paying the real cost of transporting his goods to market, which he can then pass onto to the seller for higher prices allowing him to become richer.
Of course; as 'Jud Süß' implies, this is all nonsense as the farmer has already paid for the maintenance of the roads by virtue of paying his taxes. However because Levy uses lots of high-brow terms spouted off at a rate of a million a minute combined with a demonstrably high level of mathematical acumen: the farmer; depicted as broadly uneducated but simple and honest, believes Levy and pays his toll without further complaint (if looking rather befuddled).
We then see complaints being made about how bad the roads are (as Oppenheimer has left them to rack and ruin while pocketing the monies for their upkeep) and also how high the cost of food has become as a direct result of the large amount of tolls paid to Oppenheimer in transporting the food around Württemberg.
Because of rising anger against his policies Oppenheimer begins to use the Duke's large personal bodyguard as his own bodyguard when out dealing with the people of Württemberg. This is because; as we are told, the people have materially less now than they have ever done in the past and the common belief is that Oppenheimer has an 'insatiable lust' for money and power as well as young virginal women.
As part of this narrative of the gradual unfolding of a despotic tyranny due to jewish influence; as represented by Oppenheimer, we are given the story of an honest blacksmith; named Hans Bogner, part of whose forge is on one of Württemberg's roads. The Duke has long allowed the blacksmith to have part of his forge on the road which benefits both the blacksmith in terms of trade and also provides the early modern equivalent of a motorway service station to travellers: with the blacksmith re-shoeing horses and repairing vehicles there and then.
Oppenheimer predictably sees an opportunity to make money, because of the road diverts slightly around the front of the blacksmiths forge, which he claims is 'in the path of the road' forcing travellers to take a detour round it. He and Levy have a debate; in the presence of several of the Duke's soldiers seconded to them, with the blacksmith in Oppenheimer's lavishly furnished office.
Oppenheimer and Levy try all their rhetorical and intellectual tricks on Bogner in order to get him to 'buy' the land on which part of his forge stands as they claim it is 'part of the road'. However the blacksmith stands up to them and simply refuses to budge from his historical rights and the fact that his forge is providing a service and not actually blocking the road (he also tells them he simply can't afford it anyway).
The scene ends with Oppenheimer telling Levy to take note of Bogner, because he is a 'rebel' as he is directly disputing the authority of the representative of the Duke: Oppenheimer. Afterwards in 'Jud Süß' we find Oppenheimer (who has since become the Duke's Finance Minister due to the success of his toll booths in propping up the Duke's lavish lifestyle) travelling past the blacksmith's now partially demolished forge (as Oppenheimer has ordered that every bit of in the way of the road be pulled down): Bogner recognises Oppenheimer and after a brief verbal altercation (when Oppenheimer accuses him of lese majestie and treason for criticising him [as he is therefore criticising the Duke]) he swings a hammer at him.
The blacksmith misses Oppenheimer splintering the door of the carriage he is in, but significantly scaring the young blond lady that Oppenheimer has been seducing. Oppenheimer orders Bogner's immediate arrest and after a brief trial in a star chambered court: Bogner is publicly hanged to the abject horror of the people of Stuttgart.
This; as before stated, reflects the theme of the growth of a despotic tyranny empowered by jewish influence where there was once a benevolent lord with his honest and upstanding councillors. It essentially suggests; as previously noted, that that when the jews begin to have a say in the manner of government then they will seek to turn class against class in order to divide and conquer their hosts. The manner of their rule is simply to hide behind the titular figurehead(s) of the day and rule instead from the shadows: ruling in practice, but not in theory.
Their principle target of their greed is not the aristocracy; who wield the most obvious power to remove them, but the people, because the people are the source of the aristocracy's wealth and power. Simply put: the jews oppress the little man while leaving the powerful men alone or even courting them. This then leads to class conflict which they then proceed to blame on the powerful men claiming that they had nothing to do with it.
However; as 'Jud Süß' tells us, this is not so as the problem comes from the fact that jews (represented by Oppenheimer and Levy) tempt the powerful to push the boundaries of that power and to exploit those less fortunate than themselves. Essentially jews turn democracy into despotism, because the jews; according to 'Jud Süß', believe that gentiles are like cattle (which is stated repeatedly in 'Jud Süß') and as such can be milked, bought and sold as well as disposed of just as readily.
Hence the theme here is that fury of the little man rages against the powerful, but that it is not the powerful alone who have done wrong or who are the principle agents of said wrong doings, but rather the jews who instigated and profited from that wrong doing.
In essence 'Jud Süß' is here informing us that when the masses understand the true nature of the jew then they see that class war is merely strife brought about by jewish influences and practices and that by eliminating these things (and more fundamentally removing the jews) then there is no; or at least significantly less, class warfare.
To divert to a sub-focus of this theme of jewish despotism again: 'Jud Süß' also provides a lengthy periodic commentary on Oppenheimer's uncontrollable sexual lust towards gentile women with numerous references to his repeated seductions of virgins. This is demonstrated nicely by another failed attempt by Oppenheimer to seduce Dorothea, which she emphatically rejects because she is soon to be married to a man she loves (as well as the fact that Oppenheimer is jewish).
This plays into the theme of the corruption of the state by jewish influence since Duke Karl Alexander has begun doing precisely the same thing as Oppenheimer. In so far as the latter has convinced the former that since all the people of Württemberg are his subjects therefore they are also his sexual property as well and should be delighted to give their virginity to the Duke. Indeed we even see instances in 'Jud Süß' which implicitly suggest that Oppenheimer engages in orgies to deflower virgins with the Duke.
This; to put no finer point on it, mass rape of the young women of Württemberg by the Duke and Oppenheimer is a symbol of the debauchery and corruption brought by jews (since the Duke is married to a beautiful woman [who Oppenheimer is also bedding] therefore has no actual need for paramours) that accompanies Württemberg's descent into jewish inspired despotism.
One could even suggest that 'Jud Süß' is here giving us a Dante-esque picture of a modern descent into a hell where the jews rule and then gives us a taste of all the screaming, suffering and sorrow that results. In that picture Oppenheimer is the Devil himself presiding over the misery of the masses with his satanic little smile.
Having dealt with the themes implicit in the picture so far we can continue on, by noting that next; after the execution of Bogner, Oppenheimer convinces the Duke to further alienate his governance from the constitution by making it punishable by the death penalty to defame the Duke.
Oppenheimer then plays his trump card when he immediately asks the Duke (as he is now finance minister) for a writ that states that his (Oppenheimer's) actions are those of the Duke. We are also informed at this point; when the Duke is considering granting this, that Oppenheimer now controls not only all the arteries of commerce in Württemberg, but also all the trade in salt, beer, wine and wheat. In other words: Oppenheimer controls the means of communication and all the essential ingredients of life increasing his control of the daily like of the people of Württemberg to nearly totalitarian proportions.
Hence when the Duke grants Oppenheimer the writ: it means that anyone who complains about whatever Oppenheimer does then is guilty of defaming the Duke, because Oppenheimer's actions are those of the Duke. This then means that those who criticise Oppenheimer are fated for immediate execution for political crimes.
Further this is also applied to all of Oppenheimer's agents, which means that to criticise the jews is punishable by summary execution because the actions of the jews are the actions of Oppenheimer whose actions are those of the Duke.
At this point the city council are desperate to stop the power of Oppenheimer spreading further: so they arrange for one of their number (an old war comrade of the Duke's) to visit him absent Oppenheimer. Said councillor reminds the Duke of his oath to uphold the constitution and tells him he should expel all the jews forthwith as well as put the old anti-jewish laws back in place.
The Duke; who is much attached to his luxurious lifestyle, angrily sends his old friend away and then promptly asks Oppenheimer what to do. Oppenheimer's response is predictable enough: to suppress the council by fire and sword then re-institute a new puppet council to rubber stamp all of the Duke's requests as well as all of Oppenheimer's measures to force people of Württemberg into effective; if not actual, slavery to himself and the jews.
Duke Karl Alexander dithers on this as he still has some vestige of attachment to the constitution, but Oppenheimer comes up with a remarkable plan to gull the Duke into formally shredding the entire constitution: he tells him that he knows of a wise rabbi who can read the stars and predict the future. If the rabbi tells him that this is what is fated to be and is a good decision then Oppenheimer suggests that the Duke should go ahead. The Duke being a fundamentally superstitious man agrees to this proposal.
Oppenheimer then invites a very old rabbi with a reputation as a mystic and an astronomer to see him in his office and explains that he needs the rabbi to say that all the astral signs are in the Duke's favour. The rabbi is hesitant to do this as it would mean degrading what he regards as a science to the level of mere trickery and he also worries that Oppenheimer and the jews are becoming far too visible in their control of Württemberg. He asserts that jews should just stay in the shadows and allow gentiles to kill each other while they profit from it rather than being more and more open about being the true rulers of Württemberg.
Oppenheimer in contrast declares that this is the role of Israel (i.e. the jews): to rule the gentiles and lead them to their divinely-ordained position in the new world order (i.e. as mere serfs/beasts of burden). Further he points out to the rabbi that by doing so there will be great material profit to the jews with even the lowliest of them becoming rich.
The rabbi at this points loses any scruples that he may have had and requires that Oppenheimer come with him forthwith to prayers at the new synagogue in Stuttgart where Oppenheimer addresses the jews about the profit that is to come and states they must do what he tells them. The jews predictably clamour their agreement with Oppenheimer and the rabbi.
When next see Oppenheimer lead the Duke to the rabbi; in a scene clearly inspired by the 1920 film 'The Golem', who after making quite the to-do about studying the stars and interpreting it with a holy book (presumably the Zohar) then declares that the astral signs are completely favourable to the Duke's creation of a dictatorship in Württemberg. The Duke is favourable to this, but states that he is worried that Oppenheimer is making him risk more and more, which makes him uneasy about his long term prospects.
Thematically we can see here again the unfolding of the plot in relation to the steady creation of a jewish inspired tyrannical despotism that oppresses the little man at the expense of the powerful as well as the fact that class relations have now more or less completely broken down under the manipulative onslaught of the jews. It is becoming increasingly clear at this point; as indicated by the failure of the city council's embassy to the Duke, that Oppenheimer's growing influence and power cannot be checked using the normal methods of political discourse, but rather that revolutionary action must be considered the only possibility of those seeking to restore honesty, integrity and good governance to Württemberg.
Another thematic sub-focus here is the jew as a con-artist and fraudster who; like the rabbi, will happily manipulate anything, including things they hold dear themselves in service to the greater cause of jewish power and advancement.
In essence the message here is simple enough: you simply cannot trust a jew, because they are always out to swindle you and will say or do anything (no matter how disgusting and base) to do so.
This was originally published at the following address: http://semiticcontroversies.blogspot...els-jud_5.html
|November 5th, 2013||#4|
Join Date: Feb 2008
The personification of the devil as the symbol of all evil assumes the living shape of the Jew.
|December 1st, 2013||#5|
The Epitome of Evil
Join Date: Aug 2007
Location: The Unseen University of New York
Continuing on with the narrative then Duke Karl Alexander; after the rabbi has successfully gulled him with astrological mumbo-jumbo, tells Oppenheimer to form a new city council (which will act as a rubber stamp to his and Oppenheimer's needs) as well as confirming his decision to stamp out the old council, which is; after all, giving him so much trouble.
Next we see a scene where Oppenheimer is courting Dorothea's father; Councillor Sturm, and talks to him about presiding over the new council offering him as much as wealth as he could want if he will do so. Sturm refuses and states that he has to hold by his principles not by his material desires.
While Oppenheimer is trying to butter Sturm up: he also tries to ask for Dorothea's hand in marriage in order to seal his prospective alliance with Sturm's family. Sturm reacts badly to this advance and Oppenheimer proceeds to threaten him that if he doesn't become part of the new city council as well as give him Dorothea's hand in marriage then things will not go well for him.
Sturm then indignantly tells Oppenheimer in no uncertain terms that Dorothea is already married: to the council's clerk Faber (which occurred only a few days before as an attempt to remove Dorothea as target as part of the systematic rape of Württemberg's virgins by the Duke and Oppenheimer, but has not; as yet, been consummated).
The confrontation then escalates with angry words flying back and forth between Oppenheimer and Sturm ending with Oppenheimer calling Sturm a rebel and warning him about what happens to rebels. In other words he is making a death threat.
This then cuts to another scene of star-chambered justice when Sturm is charged with being a rebel by Oppenheimer and dragged before a closed court consisting of a judge and Oppenheimer's servant Levy. The exchanges which follow in the short trial are merely a series of accusations against Sturm; both real and imagined (we are later told that some of these were forged by Oppenheimer and Levy), that use even the smallest thing to try and condemn Sturm to the gallows. Levy in particular is shown to excel him in the manipulation of the law to suit his own ends by standing on the letter of that law and not its spirit. The scene ends with Sturm being condemned as a rebel for attacking Oppenheimer's policies (which remember by the Duke's degree is now lese majeste and thus punishable by death) by both the Judge and Levy.
Next we cut to a scene showing the old city council secretly meeting to discuss what to do and unanimously it is decided that Oppenheimer must be ejected from both Stuttgart and Württemberg in order that peace may be restored and the exploitation of the people ended. However Oppenheimer has spies at the meeting and they inform him of what has been discussed: before going to the Duke with this information however Oppenheimer drafts a decree for the bloody suppression of the city council, which he then presents to the Duke.
The Duke is; predictably enough, outraged and condemns all those who are plotting to eject Oppenheimer as traitors. Throughout this scene we are repeatedly shown that the Duke is completely controlled in practical terms by Oppenheimer and that while Oppenheimer is in control it is the Duke's name that goes on the documents which are to bring death to Oppenheimer's present and future enemies.
The Duke however; in a moment of sanity, points out to Oppenheimer that he is creating enemies for him that he just doesn't need. As well as the fact that the Duke is increasingly concerned about the loyalty of his own troops when asked to put down the popular enemies of Oppenheimer in addition to the concern that; as he himself states, he is no longer free to do what he likes (but has to obey Oppenheimer's diktats).
Oppenheimer thus advises the Duke that the jews will happily pay for mercenaries from Würzburg to come and perform this bloody repression, but that it will take a few days for these troops to arrive. The Duchess; who is also Oppenheimer's mistress, assists in this by telling Duke Karl Alexander to heed Oppenheimer's advice. The Duke agrees with his wife and gives in to Oppenheimer's suggestion that he should become an absolute ruler as the people of Württemberg are now in open revolt against him: even in Stuttgart itself.
Thus the Duke unleashes his police forces onto the streets to fight the people who are rebelling against the oppressiveness of the Duke's rule caused by Oppenheimer's influence: leading to open fighting and also the shutting down of the old city council.
After this we cut to a scene where Oppenheimer is talking once again to Sturm: who he threatens first with prison and then with a death sentence for his treasonous comments against the Duke and Oppenheimer (which were forged by the latter). When Sturm doesn't budge Oppenheimer proceeds to try and sweet talk him again by referring to his well-known principles that will give the new council legitimacy (while also again asking for Dorothea's hand in marriage [with the implication that Oppenheimer will get rid of her husband Faber before that happens]).
Now looking at the above thematically: we can see that it is once again playing on the overarching theme in 'Jud Süß', which is that the result of allowing jewish influence and/or jews into one state means that that state will become oppressive and tyrannical by greater and greater measures as it proceeds to try and wring the last coin out of the people. However the anger of the people will be directed towards the wrong party; the ruling classes, whose names maybe on the legal documents which have caused said oppressive and repressive measures, but they are drafted and pushed by different hands: those of the jews.
As part of this we should notice how that as soon as an individual or group becomes a problem to the jews in a state under their sway then will attempt to use the existing law to declare their enemies outlaws or simply forge evidence against them if they cannot find enough to make this happen. In essence 'Jud Süß' here is a commentary on the proliferation of jewish lawyers that one found in Europe in the 1920s and 1930s (and one finds in the United States and Europe to this day) in that these jewish lawyers will necessarily attempt to progressively subvert the spirit of the law with the letter of the law in order to get rid of their enemies (Alan Dershowitz and advocating torture comes to mind).
'Jud Süß' here can be read as suggesting that the jews use the law as a weapon in addition to the fact that they use seduction as a political weapon. As in the case of Oppenheimer's seduction of the Duchess, which then reaps dividends for him. Since the Duchess is then quite willing to induce her husband; the Duke, to accede to Oppenheimer's schemes in spite of any misgivings he may have.
This leads us nicely on to the interlinked theme with Oppenheimer's seduction of the Duchess in the rampant sexual libido of the jews and their sexual attraction to gentile women. However this sexual attraction only lasts until they have gotten what they want (i.e. sexual intercourse) and especially if the female party concerned is virgin. 'Jud Süß' is here telling us that jews do not love in the same as gentiles do and instead look at their prospective partners as conquests and sexual objects not as mates or partners in a sustained mutually beneficial relationship.
This is true even when the sexual relationship lasts beyond the initial encounter as Oppenheimer's relationship with the Duchess was conceived of as a way of influencing the Duke and thus Oppenheimer is using the sexual intercourse as a way of influencing the Duchess in order to influence the Duke. In other words: his seduction of the Duchess is politically motivated although it is obviously also motivated by pure carnal gratification as well (since the Duchess is portrayed as being a rather attractive lady).
Similarly this applies to Oppenheimer's attempt to obtain Dorothea's hand in marriage and his anger at not being able to gain it: as Dorothea is Sturm's daughter and if Oppenheimer has Dorothea then he can control Sturm and use his good name and reputation to his own advantage without Sturm being able to do anything against him due to his control of Dorothea.
However this is only the reason that Oppenheimer wants Dorothea's hand in marriage, but it is not the reason why Oppenheimer is so obsessed with Dorothea. This obsession is caused by Dorothea being forbidden fruit; if you will, as a young woman who has repeatedly rejected his advances and has now married someone else: Faber.
Oppenheimer is interested in Dorothea sexually because he believes that Dorothea is the one woman he cannot have and the idea that any woman could reject him rankles and yet intrigues him as well. He sees Dorothea as a challenge to his manliness and libido as if he cannot sleep with Dorothea then he has failed and Oppenheimer cannot believe he can fail as he believes himself to be manifestly superior to gentiles like her.
Essentially Oppenheimer's obsession with Dorothea is based on the fulfilling of his carnal desires and the more she rejects him the more he wants to sleep with (and de-flower) her.
Thus we can see once again that 'Jud Süß' uses the concept of predatory jewish sexuality as well as their ruthless irresponsibility in relation to gentiles as part of its thematic undercurrents.
Getting back once again to the story: we cut to a new scene with the old city council meeting in secret to decide what to do about the Duke and Oppenheimer. After much discussion they unanimously decide to send Faber; Dorothea's new husband, out of the city as a messenger to the rest of Württemberg carrying the cry that it is now time to rise against the rule of the jews (lead by Oppenheimer) who have perverted the Duke and caused him to become a tyrant.
Faber however is caught at one of Stuttgart's gates by the Duke's soldiers as he has gotten the password for the night incorrect. Then Faber is dragged before Oppenheimer who proceeds to interrogate him with the Duke's soldiers standing over Faber menacingly (as well as threatening to torture him). Oppenheimer extracts from Faber the fact that his mission was to call on the rest of Württemberg to rise in popular revolt against the jewish inspired rule of their fair state.
This Oppenheimer immediately takes to Duke Karl Alexander and advises him that he has to risk unleashing his own troops against his own people now in order to quell the uprising. The Duke; finally coming to his senses, rejects this out of hand. Oppenheimer then desperately begins taunting the Duke with his impotence in the face of the old city council (i.e. do you rule or do they?), which doesn't succeed either.
Oppenheimer then plays his trump card: he threatens to resign unless the Duke launches an immediate coup d'etat against the old city council and extinguishes them completely as a force. While this going on however the popular uprising against Oppenheimer's rule has started in earnest.
Thematically once again we can see here the overarching theme of 'Jud Süß' with the jews installing an oppressive and repressive tyranny on any (gentile) state that lets them reside; or have influence, in it. In essence we can see the jews of 'Jud Süß' operating as both a conscious and unconscious unit in order to achieve the fulfilment of their own objectives.
Part of that objective is to wring as much wealth from the people as possible and to deal with opposition to it with repression of the most drastic kind: hence the use of medieval torture (thumbscrews to be precise) by Oppenheimer on Faber and also Oppenheimer's demand that the Duke unleash his own soldiers on his own people.
These act as thematic touchstones for our understanding of the Duke's jewish inspired rule is absolute opposition of orderly society as he is behaving like a oriental despot as opposed to a cultured European nobleman. This Orientalism provides a kind of thematic clue to the audience in relation to the idea that without the jews then the Duke might have been a good ruler, but his own uncontrolled vices have placed him en hoc to the jews and thus Württemberg is now ruled like an oriental despotism, because it is really ruled not by the Duke (who is a European) but by a foreign oriental people (the jews) who are ruling in the only way they know how (i.e. despotically).
Returning once again to the storyline of 'Jud Süß': Dorothea goes; with Stuttgart and Württemberg more broadly in revolutionary turmoil, to see Oppenheimer with a view to petitioning him to release her imprisoned father: Councillor Sturm. Upon Dorothea presenting her petition to Oppenheimer: he simply rips it up and reminds Dorothea that petitioning for the release of a traitor is itself a treasonous offence and traitors are executed in Württemberg.
Dorothea is clearly rather anxious and afraid at this juncture given that Oppenheimer has just made a death threat against her and follows Oppenheimer to his bedroom: where he attempts to bribe her into sleeping with him via the gift of a valuable ring, while beginning to sexually molest her. When she rejects the ring Oppenheimer tells her that in order to free her father and her husband (who he now reveals he also has in prison) then she has to sleep with him.
Dorothea once again rejects this on the basis of her principles (like her father before her) and Oppenheimer resorts to desperate measures by leading her to the window and asking her listen. Then he signals his torturer who is opposite on the floor below with the window open: who then begins brutally torturing Faber with thumbscrews so that she will be able to hear his screams.
At this point Dorothea realises that she will not escape Oppenheimer without being raped and begins to mumble prayers for an intervention from the god of her faith (i.e. Christianity): Oppenheimer laughs at this and tells her that the jewish god is a god of revenge not one of compassion. Then Oppenheimer proceeds to rape Dorothea and steal her virginity as he has done to so many other maidens of Württemberg.
Oppenheimer then frees Faber and his servant Levy tells Dorothea's helpless and traumatized husband that Dorothea has given herself to Oppenheimer in order to obtain his freedom. Faber is clearly further traumatized and bewildered at this as is Dorothea .Who we see somewhat raggedly clad making her way unsteadily back after her rape by Oppenheimer: however she cannot live with what has happened to her and drowns herself in the river due to her sense of shame for having had her virginity taken away from her by a jew.
Thematically we can see her confirmed that Oppenheimer's interest in Dorothea is purely sexual and temporary in nature: it is limited purely to his conquest of her sexually and not extending to any love or attachment to her. Essentially Oppenheimer is using her for sexual pleasure much as he has used so many other maidens of Württemberg. His offer of marriage to her father; Councillor Sturm, is thus seen for what it is: an imposture that is purely political in motivation and nothing to do with any actual feelings; other than pure lust, towards Dorothea.
We also see the ruthlessness of Oppenheimer once again rear its ugly head. Since Oppenheimer cannot get Dorothea to sleep with him by any of his usual means; i.e. offering women money or wishing sweet-nothings in their ear (i.e. he treats gentile women like prostitutes thus symbolizing the jewish view of the Shiksa), then he has to find another way to get her to accede to his affections. This he does in the most drastic; if opportunistic, way possible by brutally torturing her husband the man she loves within her hearing.
This reveals the ruthlessness and callous nature of the jews as portrayed by 'Jud Süß' in that they will literally stop at nothing in order to achieve their objectives whether they be political or personal.
Returning to the narrative of 'Jud Süß' one last time we see Dorothea's body being discovered and the 'straw that broke the camel's back' in so far as Dorothea's rape and subsequent suicide, become the rallying cry of the uprising against Oppenheimer. The members of the old council (including the now vengeful Faber) then proceed to ride with all speed to the Duke's fortress. Where they shoot one of Oppenheimer's bought military lackeys in charge of the guards at the gate and manage to incite the men on guard not to open fire in response, but rather to join their fellow citizens in common cause in rising against the tyrannical rule foisted on them by Oppenheimer and the jews.
The old council members then burst in on the Duke (who is drunk on champagne which he declares to be his medicine) in the middle of his latest lavish entertainments; which he is now very bored with signifying the temporary nature of physical pleasure and hedonistic entertainment, and forcibly present him with the demands of the people of Württemberg to which the Duke predictably reacts angrily.
The old council members however will not take no for answer and remind him of the oaths he swore to do right by the people of Württemberg during his investiture as their sovereign lord. Oppenheimer responds to this by demanding that Duke ignore these men and clap them irons for treasons to which Faber retorts that Oppenheimer has raped his wife (Dorothea) and caused her to take her own life.
Oppenheimer sees red at this points and physically attacks Faber while shouting that he is a slanderer and a liar, which causes the Duke to get even more volubly angry. However all of a sudden the Duke collapses and then dies shortly thereafter due having a heart attack brought on by his sedentary and hedonistic lifestyle (i.e. as opposed to a healthy active life of service).
At this point Oppenheimer tries to run, but is caught and arrested on the spot by the members of the old city council who then proceed to have him tried in an open court (which compares to Oppenheimer's use of closed courts of star-chambered justice). This court spends months investigating Oppenheimer's many misdeeds (which is again a comparison to the kangaroo court nature of Oppenheimer's own use of the legal system against his opponents) and convicts Oppenheimer of high treason sentencing him to publicly hang for his crimes.
This verdict isn't for want of Oppenheimer's many excuses that he has done nothing wrong and that he is merely just a poor jew who was just doing the Duke's bidding. He also repeatedly claims that he has done nothing in his own personal interests but rather did everything for the Duke's interests and that it is with the Duke that the blame must lie and not with him.
The court however makes it plain (in direct contrast to Oppenheimer's own formulation that the jewish god is a god of vengeance) that it does not want revenge, but merely wants to see justice done. Closing off the narrative of 'Jud Süß' we see the scene of Oppenheimer's execution (which is very well attended) and we see that right to the end Oppenheimer is volubly protesting innocence and claiming that he is just a 'poor abused jew'.
Once Oppenheimer has been disposed: 'Jud Süß' cuts to its last scene with the reconvened city council writing it into their statutes that all generations hereafter should be warned by their experiences with the jews. Thus their descendants should take heed of their experience for all time and never allow the situation to get as bad as it did under Oppenheimer again (with the subtle hint that in fact this had been allowed to happen again).
However as the ending of 'Jud Süß' implies: it did and it is happening now.
This was originally published at the following address: http://semiticcontroversies.blogspot...ebbels-jud.htm