The Kaiser’s Lackey

1951, Rereleased 2007

Director: Wolfgang Staudte

Black and White, subtitled

R1 DVD

First Run Pictures

Reviewer: Bob Estreich

This satirical but menacing film was produced in East Germany by DEFA, (Deutsche Filmaktiengesellschaft), the rather irreverent east German film company in the Communist era. The characters are caricatures and the film was theoretically a comedy. It is the story of Deiderich Hessling, raised in the turn-of-the-century period by overbearing parents, ultra-nationalistic schoolteachers, and rigid authoritarian social structures. Young Hessling soon learns that the best way to get on in life is to become the lackey of those in power. This attitude continues through his days at University, where he even gives up the girl he is falling in love with when threatened by an older student.

He starts to show some independence and backbone when he is sucked into a semi-militaristic Corps, the neo-Teutons, whose specialty seems to be drinking and duelling. While a member he receives a scar in a stylized duel which makes him a little more socially acceptable, as it apparently is a sign of bravery. He is unsuccessful when he joins the Army, however. He is discharged when it is found he has flat feet.

When Hessling’s father dies and he inherits the family business, his true nature blossoms. He becomes a pompous, loudmouthed, overbearing pig of a man who professes his undying loyalty to Germany and “his” Kaiser (provided he is not called on to make any real sacrifice). He promotes the Kaiser as the new God of Germany. He is unconcerned that Church attendances are falling, “urgent business matters” as his excuse. He cheats, lies, swindles and backstabs his friends to rise in power. He is a constant urger of loyalty to his Fuehrer (sorry, Kaiser) and his public vocal support helps him rise in social standing in his town. Eventually it all comes crashing down. Money he has swindled is used to build a huge statue of the Kaiser in the town square, and at the unveiling a huge storm hits and destroys much of the town. Perhaps the hand of God has carried out vengeance for Hessling’s sycophantic replacement of God with the Kaiser.

The film is a savage satire, and Staudte brings out the ridiculous, destructive nature of unquestioning jingoism. The parallel to Hitler’s rise to power is unmistakable, and the final scene of the destruction in the town square is also unmistakable as World War 2 damage. Little wonder, then, that the film made Germans uncomfortable when Germany was reunited. The film was banned for many years. It has only recently been re-released (and, by the look of it, beautifully restored) since the University of Massachusetts got hold of the DEFA film library. Their contract with Icestorm Entertainment and FirstRun Features is seeing the collection cleaned up, subtitled, and released on DVD.

Although the film is not particularly great for its acting or plot, its place in Germany’s film history is significant. The satire does not only apply to Germany, either. This is what makes the film a classic.

This review will appear in Volume 2 No.2 (2009) of the digital and print edition of Synergy Magazine.

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