ironhorse_iv Banned in Germany at the time of it's original release, due to fears of the movie of idol worship. This movie is now considered an gem for students of German history, particularly those interested in understanding the social class system in Imperial Germany. That's if they can find it. It's a hard movie to find. One of the hard things to figure out is what the name of the movie is, because it goes by with many different names. The first title is 'Der Untertan' which means 'the subject' which is the same name of Heinrich Mann's novel. It has been translated into English under the titles "Man of Straw," "The Patrioteer," 'The Kaiser's Lackey' and "The Loyal Subject" to the point, you don't know which movie, you might get. No matter what title you get, the story is the same. Set during the German Kaisereich, the film does an excellent job at illuminating the amoral world of nationalism. Diedrich Hesserling (Werner Peters) is a fearful man whom use any technique to advance in life to become a right hand man to the Kaiser himself. The man really did like the Kaiser and he was a obedient follower to the point, that he maintains a rigid dedication to the nationalist goals of the German state to anybody that knows him. Throughout the movie, Hessling's inflexible ideals are often contradicted by his actions: he is the strongest proponent of the military and preaches bravery but seeks to be excused from his obligatory military service in a cowardly way. When he got into politics, he hates greatest revolutionary Social Democrats, yet he uses his influence to help Social Democrats candidates win seats at the Reichstag (Congress) so they can defeat his Liberal competitors in business. After they win, he starts vicious rumors against the latter and then dissociates himself from them. He preaches and enforces Christian virtues upon others at his factory, but lies, cheats, and regularly commits infidelity himself. Director Wolfgang Staudte puts a spot on satire comedy of the hypocrisy of bourgeois society and the risk of social collapse in a nation of loyal mindless idolatry of authority citizens with symbolism like the toilet paper containing nationalistic slogans and dance number with pickelhaube helmet wearing dancing girls. Photographed beautifully and intelligently, one of the greatest shots in the film is when Diedrich finally get a chance to meet the Kaiser, and he's such a fan, he is running beside the carriage trying to get his autograph. That is a idolize moment. Staudte's film is expertly made, full of verve and wit and a visual vigor that is quite impressive. The director and his cinematographer, Robert Baberske, shoot the movie at a near-frantic pace, employing extreme angles and comedic manipulations. They enjoy juxtaposing their characters with telling objects, crafting deep focus compositions where Diedrich appears in frame with, say, a symbol of Teutonic grandeur, the symbol overshadowing the man that is in service to it. Staudte and his co-writer, Fritz Staudte, also employ a mocking narrator who barely keeps his disdain for Diedrich at bay. There is never a question that this is a man we are intended to despise. Still the movie is a propaganda film produced in the Deutsche Demokratische Republik (East Germany), a Stalinist puppet state at the time. The humor is dry, and it's hard to watch somewhat. The black-and-white full frame image of movie is a fairly decent print. It has much dirt and scratches, but is otherwise clear and unobscured. The downside is that the interlaced transfer makes the image rather soft. The German soundtrack is given a basic mix that is largely clear. There is occasionally some hiss, as well as some unbalanced tones. The English subtitles are easy to read, moderately paced, and free of grammatical problems; they are, however, burned into the picture rather than optional. People who don't like coolly intellectual, literary comedies should not get this. The anti-hero doesn't change for the better and continues to be unlike by some who can't find themselves caring for the character's story. The ending is rather disappointing. In sum, though humorous this film is heavy-handed, unlike Staudte's subtle and truly outstanding 1949 film 'Rotation' which explains German history more incisively, or the 2009 film 'The White Ribbon', which artfully makes many of the same points about Wilhelmine Germany and the sources of Nazism. This film falls somewhat flat.

MartinHafer To fully understand "The Kaiser's Lackey" (of "Man of Straw"), you need to understand who made the film and the purpose of it. This is an East German film and in the view of the German Democratic Republic (the Soviet-controlled East Germans), the enemies of the State are the upper and middle classes--particularly those who control the means of production (this is from Socialism 101 as taught by Professor Marx). So, the film looks at the reign of Kaiser Wilhelm II as a struggle between the workers and these ultra-nationalists--in a single representative town and featuring a particularly nasty and soul-less man (Diederich Heßling). The film follows Heßling from his childhood to adulthood--during which he used his position and privilege to exploit or ignore those beneath him, while sucking up to all those above him in the social system.While not obviously funny when you watch it today, the film is social satire. Naturally, the film was the party line in East Germany and was embraced. However, its reinterpretation of history (which ignored liberal reforms and blamed the Prussian middle-class and militarism on the Nazis) did not sit well in the West--especially since West Germany was being rebuilt and molded by the middle and upper classes. Because of this, the film was at first suppressed and only allowed to be released with a few judicious edits---most of which seem very harmless today but which were fuel for the Cold War at the time. Much of this analysis is NOT because I am some sort of a genius--the special features on the DVD featured a professor from UMass-Amhearst that analyzed and explained the film--something that you should definitely see.Well acted and thought-provoking. While its history lesson is a bit simplistic, it is well made and quite compelling.

hasosch "Der Untertan" (1951), directed by star-director Wolfgang Staudte, is based on a novel by Heinrich Mann (1871-1950) as "Der Blaue Engel" (1930), directed by Josef Von Sternberg, is. While in "Der Blaue Engel", the protagonist is a person who cannot adapt to the world around him, and when he tries, shamefully stumbles and at the end pays his attempts with his life, the main figure in "Der Untertan" is so-to-say the complimentary character: Although born in an aristocratic, high-class family, surrounded by the world-literature and regular house-concerts and thus widely detached from bourgeoisie, he finds out that he may make carrier by breaking out of this status-group isolation in trying to meddle with politics. He also finds out that for him, the best way is to put hand over hand along the rope that leads upwards while kicking the ones who are coming below him. The result is, however, that he blunders not only in public but often also in his private life. The film has an interesting, yet totalitarian and typical GDR-end which kind of disturbs the otherwise excellently crafted master-piece for which Werner Peters in the role of Dr. Hessling and the director of the film got the Great GDR-State Price.This movie and an extremely impressive list of some hundreds of titles more, meanwhile practically the collected works of the DEFA, the state film company of the former GDR or DDR, we owe to the Department of German Studies of the University of Massachusets at Amherst that has obviously taken over the legacy to maintain and foster the gigantic film work of the "other" Germany which has ceased to exist in 1990.

zolaaar Like Der blaue Engel from 1930, Der Untertan is made after a famous novel by Heinrich Mann, the elder and politically more interested of the two German writer brothers. Here as there, the film is about the criticism for a social characteristic which is regarded as typical for the German background: the Philistine who is fixated on authority and blindly tumbles into war and downfall.The film tells in episodes about the life story of Diederich Heßling (Werner Peters), youth and university days of the son of a factory owner and his gradual rise into better circles of the Prussian small town Netzig in the 80s of the 19th century; Germany is already an empire with Wilhelm II. being in power. During his studies and his time in the military service, Heßling learns how to be subject to superiors, to endure humiliation, to denounce and to enjoy the power over inferiors to the full. He takes over the father's factory, joins the conservative-nationalist party and a war club and marries a rich heiress. The height of his career is the opening of a warrior monument in Netzig; he appears as the official speaker and baths in the patriotic phrases of national authorities when a thunderstorm interrupts the ceremony and clears the whole place.The alarming final shot of the monumental emperor, Wilhelm II., is a direct reference to the nation's dark future, WWI and WWII which both - from the perspective of the film - arose from the Prussian way of ruling and the servile attitude of the subjects, the German people. The incidental music to this last take is a repulsive potpourri of "Die Wacht am Rhein", an anti-French national song, the "Horst-Wessel-Song", a martyr anthem of the Nazis and the fanfares which introduced "Die Wochenschau", a weekly propagandistic newsreel that was shown in the cinemas of the Third Reich.Without reservation, this film can be accepted as a work of art about a weighty epoch in German history, the Wilhelminian era. The characters precisely personify the important and guiding institutions like school, university, military and government. The film succeeds in picturing the fatal relation between philistinism and war enthusiasm, whereas the camera excellently describes the subject's point of view and position: Heßling looks bottom-up to the authority. Next to the acting brilliance of Werner Peters, it's those camera looks which outfits the film with an outstandingly analytical and aesthetic quality.