If you exclude documentary films like "Triumph of the Will", this film here may be the most despicable and anti-Semitic propaganda movie that was made during the Nazi regime. It is black-and-white, runs for slightly over 90 minutes and written and directed by Veit Harlan. After World War II, the existence of this film turned out a stain of shame on the bodies of work of everybody who was associated with this project, mostly lead actor Ferdinand Marian, but also Heinrich George for example, father of notable German actor Götz George, and also a legend in his own right. His character here is the personification of the evil Jew. He is corrupt, egoistic and not scared of whatever evil it takes for him to become wealthier and more important in terms of politics. The irony of that being compared to actual Nazi politicians. Everybody who is close to Jud Süß Oppenheimer faces destruction in the end, be it his friends or foes. He is basically a death bringer. But not only is he a fraudulent schemer, he is also a physical menace who is not scared of raping girls when they decide to refuse his approach. He takes what he wants and acts as if he is above the law. The goal of Harlan and the Nazi Ministry of Propaganda here was to make the Jew look as bad as possibly. pay attention to how the film goes on Oppenheimer is rarely called by his name anymore, but called "the Jew". Generalization was a big objective here, so that the German people would perceive the protagonist's action as symbolic for the entire Jewery. Another crucial aspect here is how it is depicted that Jud Süß only cares about his religion really if he can use it to his advantage.
It is fairly difficult to evaluate this movie. One the one hand, there are the outrageously offensive and loathsome contents, but on the other hand, it is also a priceless historic document of how film tried to change people's minds. Then again, looking merely at the story and trying to ignore all the factors concerning religion, I would not say that this is a particularly well-made piece of movie-making. I guess it is worth a watch for people with a big interest in film as well as history of the 20th century, but everybody else does not need to watch it really.
It is fairly difficult to evaluate this movie. One the one hand, there are the outrageously offensive and loathsome contents, but on the other hand, it is also a priceless historic document of how film tried to change people's minds. Then again, looking merely at the story and trying to ignore all the factors concerning religion, I would not say that this is a particularly well-made piece of movie-making. I guess it is worth a watch for people with a big interest in film as well as history of the 20th century, but everybody else does not need to watch it really.