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Joseph Suss Oppenheimer (1698-1738), better known as Jew Suss, was a court Jew, who advised the Duke of Wurttemberg. Clever and handsome, even ostentatious, he fitted easily into court life, despite his humble origins. However, his unpopular economic policies made him enemies and when the Duke died suddenly Suss was arrested, convicted of 'destestable abuses' and exectued in Stuttgart in an iron cage. His spectacular rise and fall inspired a media outpouring in the eighteenth century and he has been much written about subsequently. In the twentieth century two films were made about him, one British in 1934, the other German in 1940. Goebbels took an active interest in the latter. After the war its director, Veit Harlan, was tried for Crimes against Humanity for having made the film. Despite his acquittal, the film's association with the Holocaust remains controversial to this day.
For almost three centuries the life of Jew Suss has been adapted, distorted and transformed. This book tells the story of these transformations.
- Sales Rank: #703962 in Books
- Brand: Brand: Bloomsbury Academic
- Published on: 2011-08-11
- Released on: 2011-08-11
- Original language: English
- Number of items: 1
- Dimensions: 9.20" h x 1.10" w x 6.10" l, 1.40 pounds
- Binding: Hardcover
- 304 pages
- Used Book in Good Condition
Review
The film Jud S�ss is one of the most notorious examples of Goebbel's antisemitic propaganda. Susan Tegel has set out to explore the historical reality of S�ss's life in eighteenth-century Germany and the way that reality has been distorted and reworked ever since. This is a rich and imaginative reconstruction of a complex story and a shocking reminder of how easily history can be abused for political gain. (Richard Overy, Professor of History, University of Exeter, UK)
With formidable power, this book cuts through convolutions and elucidates a story that begins with a judicial murder and ends with a trial for genocide, and involves large numbers of writers, along with a vast array of ill-wishers, pan-handlers, murderers and courtiers. Susan Tegel has done us proud and once again brought clarity where there was nothing but confusion. (S. S. Prawer, Taylor Emeritus Professor of German Language and Literature, University of Oxford, UK)
The film Jud S�ss is one of the most notorious examples of Goebbel's antisemitic propaganda. Susan Tegel has set out to explore the historical reality of S�ss's life in eighteenth-century Germany and the way that reality has been distorted and reworked ever since. This is a rich and imaginative reconstruction of a complex story and a shocking reminder of how easily history can be abused for political gain. (Sanford Lakoff)
The film Jud S�ss is one of the most notorious examples of Goebbel's antisemitic propaganda. Susan Tegel has set out to explore the historical reality of S�ss's life in eighteenth-century Germany and the way that reality has been distorted and reworked ever since. This is a rich and imaginative reconstruction of a complex story and a shocking reminder of how easily history can be abused for political gain. (Sanford Lakoff)
About the Author
Susan Tegel taught history for many years at the University of Hertfordshire.
Most helpful customer reviews
2 of 2 people found the following review helpful.
An excellent look at "Jew Suss", through the ages.
By Jill Meyer
Think about an historical figure. Particularly one who lived earlier than a hundred or so years ago, one whose life and deeds have been bandied about by historians, film makers, historical fiction writers, and, ...of course, sometimes by propagandists. Will the modern reader or movie goer ever really know the real "Robin Hood"? Or "William Tell"? Probably not, in most cases. The true story of the historical figure becomes a "starting point" and may be changed or distorted to shape the narrative of what the writer wants to make a point about. I mean, there may have been a real fellow called "Robin Hood", who robbed from the rich and gave to the poor, or maybe it was the other way around. Who knows, actually? And "William Tell"? Who knows what was his real story? He was against some Swiss government, or something, and maybe he really did shoot an apple from his son's head. But we really don't know. Their "stories" were just a starting point in their "legends" that have come down through history.
Joseph Suss Oppenheimer was a "court Jew" in the court of Duke Carl Alexander of Wurttemberg. He was born in relatively humble circumstances in the city of Heidelberg, probably in 1698, and was put to death on - possibly - trumped-up charges in 1738, after the death of his patron, Carl Alexander. He aided the duke in monetary matters, including taxation, and lived the "high life". He lived as a fairly non-observant Jew, but never left the faith. He died a Jew. He was hung, in a cage, high above the gallows. Oh, and he had a "Christian" mistress. Those are a few of the facts about Suss Oppenheimer's life that are true beyond dispute. (There was some question about the identity of his "real" father and his mother's reputation, but those have been proven as false).
Those are the recognised truths of Suss Oppenheimer's life, and they were the jumping-off point of countless novels, plays, and movies about him. Many were anti-Semitic in tone - some more than others - but his Jewishness was the focal point of every one of them. Most of the authors and playwrights played fast and loose with the facts - okay, they were producing "art", not documentary - and the results were, in general, distortions of Suss Oppenheimer's life and historical importance. The most egregious example of this was the 1940 German movie - "Jud Suss" - directed by Veit Harlan, with the hand of Joseph Goebbels guiding him. Tried for crimes-against-humanity after the war, Harlan was able to defend himself and his war-time actions in such a way that he received no punishment. The film was a great success in Germany and German-occupied countries. It was used as wartime propaganda, to push the Nazi hardline against the Jews.
British historian Susan Tegel, in her well-written and interesting book, "Jud Suss", looks at this film, as well as the earlier one, made in England in the early 1930's and not anti-Semitic. She also writes of the "real" life of Joseph Suss Oppenheimer and places him within the context of his times, both religious and secular. And as she looks at the many books, plays, and movies which have expropriated the bare facts of Suss Oppenheimer and put their own "spin" on the man, she defines just how "stories" can be turned into "legends". The book is filled with notes and sources, all placed quite nicely at the end. This is a well-researched and well-written book.
3 of 3 people found the following review helpful.
The Background to a Masterstroke of Propaganda
By Rob Hardy
I love reading and I love telling people about books. I don't often have to do any research; I just read a book and describe it; it's all very pleasant. For today's book, however, I did have to prepare, and the preparation was the most unpleasant task I have had as a reviewer. The book itself is far from offensive; it just covers one of the most offensive of artistic productions. _Jew S�ss: Life, Legend, Fiction, Film_ (Continuum) is by historian Susan Tegel, and true to the subtitle it covers all four facets of the story of Joseph S�ss Oppenheimer. It does this comprehensively; there was a lot to the story that I didn't know. It's only that last one, "Film," that has made S�ss's story at all important, and for a dreadful reason. The propaganda arm of Hitler's government made the story into a spectacular film that effectively delivers a harsh antisemitic message. It was a masterstroke of Nazi propaganda. The unpleasant homework I gave myself before reading the book was to buy a DVD of the movie, and to watch it.
S�ss really existed, but as you might expect, he was not as important or as influential as the legends and the movies represent him. He was born in 1698, and became a "Court Jew" (_Hofjude_) to Prince Carl Alexander in W�rttemberg. A Court Jew had no official title; he simply helped get loans, provision armies, and so on. The Duke was unpopular, as was S�ss, not just for being Jewish (the prince was Catholic, ruling over a Lutheran populace) but also for being in charge of taxes. When in 1737 the Duke died unexpectedly, S�ss was seized, put on trial, and hung within an iron cage, in which his body remained on display for six years. In retrospect, it is clear he paid for the Duke's sins. It took only three months for S�ss's story to be made into a drama, and one of the strengths of Tegel's book is that it seems to be a comprehensive examination of the broadsides, stories, novels, plays, and movies that S�ss inspired. No version of the tale has had the fame or influence (or financial success) as _Jud S�ss_, the 1940 German film deliberately made to invoke hatred for Jews. In 1938 the Reich Minister of Propaganda, Joseph Goebbels, flatly ordered that German studios should start putting out antisemitic movies. A successful director, Veit Harlan, co-wrote the script, and was deeply involved in depicting the Jews and their religious ceremonies as demonic. He selected extras from the ghettos in Prague. The title role was taken by the Austrian actor Ferdinand Marian. It might have been difficult for him to take on the role of a Jew in an anti-Jewish movie and antisemitic culture, but Goebbels issued a disclaimer before the film opened that none of the actors had a taint of Jewish blood. Marian plays the role perfectly, mincing or threatening by turns, and gradually insinuating himself into the Duke's court financially and also sexually. This brings up a great problem with the movie. It is a good film. Obviously money was spent on the costumes and sets, and it is the sort of melodrama that was being put out by, say, Warner Brothers at the same time. The characters, S�ss, the Duke, and the opposition leader are all well delineated and played. In terms of quality and theme, the film is rather like that other offensive classic, _Birth of a Nation_, though _Jud S�ss_ is not at all innovative. The plot is believable, if you can accept how horrid S�ss and his fellow Jews are. Goebbels was happy, writing in his diary, "The film was an incredible success. You hear nothing but praise. People rave. This is what I wanted." The press praised the film, but of course they could do nothing else. It was made compulsory viewing for the SS and for the police.
After the war, those who made the film claimed they were forced to participate. Harlan the director was tried twice for war crimes, but was acquitted, and went on to make other films. The movie is banned in Germany and other places, but still pops up unexpectedly. In 2009, a self-described "white activist" donated a copy to the state of Florida, via the then governor Charlie Crist. The governor sent a thank you note to say how proud he would be to share it with the people of Florida, and when the note went up on the web, he then had to backtrack. It isn't a story covered by Tegel, but it is hard to imagine that she has missed much else in this fascinating account. I am very glad to have learned so much about the legend and the film. All I need to do now is to figure out what to do with the DVD I bought; I will never look at it again, I can't donate it to the library, and I don't want it in the house.
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