"Jud Suss, film without conscience", original title, year 2010, German director Oskar Roehler puts us basically to the question of the role of art and the artist, in a crucial historical juncture social, political and time. Is it possible that art is dissociated from the ideological and achieve the premise of "art for art"? I think not and this clearly happens here in this recreation of the circumstances, the process of making and receiving the original film of 1940. The Original Jud Suss, of Veit Harlan, within the framework of the 2nd World War, was fervently praised and applauded by critics and public.Implementada as anti-Semitic Nazi propaganda, in an aesthetic, beautiful and seductive form, such as the film forming thought and values.La film Roehler (2010) also shows the human drama, personal drama, the actor who must embody the role of opportunistic lapidary and climbing Jew, lacking any ethical or moral.Ese actor in the historical reality was Ferdinand Marian (1902-1946) .It leads to the inner conflict of the character, which it becomes a kind of Faust to a Mephistopheles (Goebbels, Nazi minister of propaganda), which has to offer the role of her life, catapulting him to success and fame. The character is not a hero, is an anti-hero and so the film leads us through the process of doubts, questions and misery to fall in most despicable.Film-player turn out to be mirror projection each other: film and its consequences on a massive scale, man / actor before himself, his ethics and family. The performance of the entire cast is very good, to highlight its protagonists: Tobias Moretti as Marian F., Martina Gedeck as Anna, his wife and Moritz Bleibtreu as Goebbels. Identification by spectators and empathy between central character does not occur, it is not intended to be so. Tobias Moretti ("Inspector Rex", "Speer and Er", "Io, Don Giovanni," "The Dark Valley", etc.) Gives an interpretation of many quality.Trained in the theater, seems here to be in it and it does not dislikes. Oskar Roehler with a very good accomplishment and bold poses the rise and fall of a film, which in turn represents the rise and fall of a political regime and in that context, the fullness and sinking of a subject who is also an artist. The originator scene of controversy, achieved its provocative role, shock (though erroneously interpreted by some critics of the Berlinale), then left exposed in all its dimensions, as an allegory, all this decay and human misery of the elite in the middle a world devastated by war.Y finally makes us reflect and gives us a movie with a lot of awareness.
Review of Jud Süss - Film ohne Gewissen
