The Jewish Question
Despite Renoir’s “universal brotherhood” theme, when the film was re-released shortly after World War II, a controversy erupted by more sensitive audiences as to whether the Rosenthal character perpetuates dangerous stereotypes of Jews as part of a new financial and clothing aristocracy that is “supremely rich, ostentatious, and given to complaining” (Samuels, 169). The film’s dialogue also intimates that Jews own more land (“three castles”) and will continue to own more, displacing the traditional aristocracy (Samuels, 177-178).
Rosenthal, who becomes lame during the escape, is depicted as the weaker of the two officers, whereas Maréchal is depicted as the handsome, athletic French hero. The casting of Dalio as Rosenthal was also deemed problematic because he not only had the “exaggeratedly hooked nose” but was known for playing dark, sinister roles (Samuels, 172, 181). The first time the word Jew is actually mentioned in the film is during the escape, when Maréchal is frustrated that Rosenthal has hurt his foot and rages that he “cannot stand Jews.” Despite this emotionally racist slap in the face, if the film is judged against other films of its time, it is clear that Renoir was trying to confront Jews’ place in society head on, not inflame or agitate racist sentiments.
In the five years preceding the film’s release, concerned about anti-Semitic backlash, explicit references to Jews on the French screen virtually disappeared (Samuels, 171). In contrast to other filmmakers, Renoir makes Rosenthal a key character in his film who is eminently likeable. Rosenthal shares his food with his comrades irrespective of class, he cries when he sees Maréchal’s solitary confinement suffering, he has his family send the costumes for the musical production, he is patriotic and eager to escape and re-serve his country, and Maréchal does bond closely with the man during the escape. Even as they cross the border, Maréchal’s parting words to Rosenthal are “Au revoir, sale Juif” (“Good-bye, you dirty Jew), although this time said with affection, not acrimony (La Grande Illusion, 1937). By bringing negative stereotypes out into the open, the film allows us to put these ignorant superstitions and caricatures to rest.
- Trivia: Stroheim (Rauffenstein) was a middle-class, naturalized American from Australia. He was also a “hidden Jew.” Not publicly disclosing his ethnicity, he played many aristocratic German officer roles and became known as “the man you love to hate” (O’Shaughnessy, 2009, 12).
Source: La Grande Illusion, 1937. Other Sources: Sesonske, 234; Jackson, 65-72; Turim, 478-486.
Recent Comments