“The widespread tendency to unambiguously reject Jew Suss is surely rooted in an assumption that its surface antisemitism was unambiguously accepted by German cinemagoers, who supposedly took Faber at face value. But is audience response ever so crudely schematic? Although one might have expected Harlan to at least go through the motions of making Faber an identification figure, there is little onscreen evidence to suggest we should regard him as anything other than a tedious snob. Emotionally, the film is entirely committed to Süß, whose passion and energy provide a welcome relief from the dull conventionality of Faber’s romance with Dorothea. The camera frequently adopts Süß’s viewpoint, swooping forward to show us exactly what he is seeing as he spies on the Duke through a concealed hole.” As a rule, the effort involved in overthrowing a conventional wisdom should be proportional to the rock-solid unanimity with which the position is held. So Brad Stevens’s attempt to rehabilitate Veit Harlan’s Jew Suss and Opfergang are ultimately too roughly sketched and half-formed to blast apart the monolithic reception to the Nazi’s second favorite director; but as introductory salvos they make for provocative reading.
“To make the performance of a tedious, exacting, time-consuming task riveting to watch, it is only necessary for the activity to be illegal. This is the lesson of heist movies, in which rigorous attention to process and stripped-down purity of focus are wedded to crowd-pleasing elements of suspense, violence, and hard-boiled patter. The caper film typically takes the audience step by step through the planning and execution of a crime that is at once a military-style campaign, a mechanical puzzle, a work of art, and a job. The crowning irony, and the link to film noir, is the way the three P’s of a successful heist—precision, patience, professionalism—are inevitably swamped by messy human failings: greed, distrust, panic, sloppiness, spite.” Imogen Sara Smith surveys some of the great (and, given the article’s sponsor, appropriately Criterion-released) examples of noir’s near-cousin, the heist film. While Criterion’s most recent rediscovery, Jack Garfein’s ahead-of-its-time-for-1961-and-still-daring-today rape melodrama Something Wild, is saluted by Sheila O’Malley. (“[Schüfftan’s] street photography in the film captures New York in a way that had not been done before. There are times when the city seems frighteningly empty, an eerie landscape void of humanity. At others, the crush of crowds presses in so insistently that it’s a claustrophobic nightmare. Something Wild, among its many other merits, is a great New York movie, capturing the city—and its different neighborhoods—at a certain moment in time. The second half of the film, however, takes place almost entirely on the one set that was built—Mike’s basement apartment—and Schüfftan is equally brilliant at utilizing the cramped space, its bars of light and shadow, its one mostly empty room, its depressing little kitchen.”)