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Jud Süß (1940 film)

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Jud Süß is a National Socialist film directed by Veit Harlan in 1940. It is a tale of a selfish government official manipulated by a wealthy businessman. What is depicted in the movie occurs over and over again in politics.

The actors consistently pronounce the J in Jud/Jude/Juden (meaning Jew/Jews) in the archaic German form of a Y sound, which is common in most German words but in modern times the J is pronounced as a J in Juden. The film takes place in pre-modern times.

Historical model

It is based on the historical figure of the Joseph Suss Oppenheimer. Born in the 1690s in Heidelberg, Oppenheimer was 1733 financial advisor to the Duke Karl Alexander of Württemberg. With a rigid fiscal policy he allowed the Catholic Duke a sumptuous lifestyle, however, brought with it the population and the Protestant estates against himself. After the death of the Duke 1737 Oppenheimer was arrested and sentenced in a multi-month process to death. On 4 February 1738 s he was hanged on a gallows thirty feet high in an iron cage at the gates Stuttgart.


Oppenheimer had achieved through grants the favor of the Duke. He wears clear mephisto similar traits. He persuaded the Duke to ever further infidelity to his people in favor of his own luxurious royal household. To repay the accumulated debt Oppenheimer first obtains the right to levy customs road. Without the consent of those he leads | a Imperial Estates stands. Therefore, the opposition against the Duke focuses on Joseph Suss Oppenheimer, the constitutional violation and be accused of personal enrichment in office. Oppenheimer obtained the opening of the city for the Jews, he intrigues and drives to the Duke of resistance against the booths. He advises him to the violent suppression of the impending revolution. The Duke has become increasingly financially dependent on Oppenheimer.

Oppenheimer repeatedly tried to seize the Aryan Dorothea. When her husband, who belongs to the opponents of the Duke, being tortured on behalf of Oppenheimer, Oppenheimer Dorothea compels to have sex, so he to despair of the torture. You then commits ashamed to have been dishonored by a Jews, suicide. My husband carries her body out of the river. It was a revolt.

When the Duke suffers a sudden death, Oppenheimer is arrested. He is sentenced to death for sexual intercourse with a Christian.

At the end of the film begging for his life, Oppenheimer hanged. Minister of Propaganda Joseph Goebbels passed to this version of the end to miserable and not heroic represent Oppenheimer. In another version, the offender is stoic in his fate.



The Allied's of WWII had put the movie on a ban list. In Germany, the public performance of Jew Suss from the self-proclaimed "rights holders", the Friedrich-Wilhelm-Murnau-Foundation can only be shown only with an accompanying commentary bashing the film and the people who made it, otherwise it is prohibited. In Austria and Switzerland, however, the film is freely available. 1954, the film was popular among Arab populations because of Israel.

Postwar Retaliation

In the Aftermath of WWII, everyone involved in the movie were put on show trials. Each person had to pretend that they were forced to take part in the movie and tried to make it look more favorably upon Jews, but someone giving them orders wouldn't agree.[1][2]

Veit Harlan, for example, was forced claim it was entirely Joseph Goebbels's fault to avoid being executed. Goebbels committed suicide May 1, 1945. The claim Harlan used which saved his life was that Goebbels was infuriated when he saw Harlan's first version of the film because it was not antisemitic enough for his purposes. Harlan reported that Goebbels accused him of being "incapable of thinking in political terms". Goebbels told him that he "should produce political films and not the kind of films that he would make in peacetime."[3][4]

Director Veit Harlan was after the war several times in court. He was accused, among other things because of "aid to crimes against humanity". However, a criminal offense misconduct could not be detected in Harlan, so he was acquitted. Critics of the director tried afterwards to prevent a public awareness activity Harlan in the Federal Republic of Germany through boycotts. They were opposed to civil channels. Before the Federal Constitutional Court (Lüth judgment) declared their action as freedom of opinion to be legal.

Ferdinand Marian, who plays Jud Suss, was banned from acting and died 1946 in a mysterious car accident.[5]

Henry George was, because of his involvement in Jew Suss and other films, deported and 1946 in the Soviet Special Camp No. 7, which the Soviets unoccupied former KL Sachsenhausen murdered by Bolshevik Soviet occupiers.

The actor Werner Krauss first prohibition, and had also received in 1947/48 in Stuttgart, a so-called "denazification process" lengthy subject that has been repeatedly reopened. The first acquittal handed down has been lifted at the urging of the U.S.-American military dictatorship. Krauss was finally "minor crimes" and classified as a "fellow" in a so-called ancillary proceedings. During the proceedings, the tribunal Stuttgart for the first time also dealt in detail with the propaganda effects of the film.

In the first few years after the war, Kristina Söderbaum was often heckled off the stage and even suffered the indignity of having rotten vegetables thrown at her.[6]

In July 1963, the Federal Court lifted a judgment of the District Court of Karlsruhe of 31 January 1962, with which it had been rejected, collect the last remaining copy of the film "Jud Suess" and make it unusable. She was purchased by a merchant from Baden-Baden and was later deposited as collateral for overdue taxes at the tax office in Freiburg.

Film with English subtitles

More material adaptations

See also


  1. Levy, Richard S. (2005). Antisemitism: a historical encyclopedia of prejudice and persecution. ABC-CLIO. p. 228. ISBN 978-1-85109-439-4. Retrieved 8 December 2011. 
  2. Fuchs, Anne; Cosgrove, Mary; Grote, Georg (2006). German memory contests: the quest for identity in literature, film, and discourse since 1990. Camden House. p. 199. ISBN 978-1-57113-324-3. Retrieved 30 October 2011. 
  3. Rentschler, Eric (1996). The ministry of illusion: Nazi cinema and its afterlife. Harvard University Press. p. 166. ISBN 978-0-674-57640-7. Retrieved 28 October 2011. 
  4. Fox, Jo (2000). Filming women in the Third Reich. Berg. p. 162. ISBN 978-1-85973-396-7. Retrieved 28 October 2011. 
  5. Nelson, Anne (7 April 2009). Red Orchestra: the story of the Berlin underground and the circle of friends who resisted Hitler. Random House Digital, Inc. p. 234. ISBN 978-1-4000-6000-9. Retrieved 28 October 2011. 
  6. Ascheid, Antje (2003). Hitler's heroines: stardom and womanhood in Nazi cinema. Temple University Press. p. 43. ISBN 978-1-56639-984-5. Retrieved 9 November 2011. 

Friendly applause for "Jud Suess" in Worms] (Media Age, 27.06.2011)

Part of this article consists of modified text from Metapedia (which sadly became a Zionist shill), page http:en.metapedia.org/wiki/Jud Süß (1940 film) and/or Wikipedia (is liberal-bolshevistic), page http:en.wikipedia.org/wiki/Jud Süß (1940 film), and the article is therefore licensed under GFDL.