Hitler Youth Quex
Hitler Youth Quex

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- 55/100 based on 1,796 votes

In the depths of the Great Depression and in the waning days of the crumbling Weimar Republic, the poverty-stricken Berlin youth and printer's apprentice, Heini Völker, finds himself torn between loyalty to his unemployed Communist supporter father and his ever-growing fascination to the Hitler Youth movement. Against the backdrop of a severe political and socio-economic crisis right before Adolf Hitler's rise to power as chancellor on January 1933, both the Young Communist ... (Full plot summary below)

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Actors in Hitler Youth Quex:

Heinrich George
Berta Drews
Jürgen Ohlsen
Hans Richter
Rudolf Platte
Reinhold Bernt

Full Plot Details

In the depths of the Great Depression and in the waning days of the crumbling Weimar Republic, the poverty-stricken Berlin youth and printer's apprentice, Heini Völker, finds himself torn between loyalty to his unemployed Communist supporter father and his ever-growing fascination to the Hitler Youth movement. Against the backdrop of a severe political and socio-economic crisis right before Adolf Hitler's rise to power as chancellor on January 1933, both the Young Communist International and the Hitler Youth want Heini; however, the boy has already made up his mind. From that point on, things can only go from bad to worse, as Heini, the "Quex", refuses to take part in a bombing raid on a new Nazi dormitory, only to further complicate matters when he insists on distributing leaflets in his old neighbourhood. Is the road of National Socialism combined with the spirit of sacrifice of the eager German youth the answer for a better future and a powerful Germany?

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User Review - 4/10 by Adam HI watched this and then read Bateson's quite interesting analysis, originally written in 1943, from the standpoint of an anthropological and psychological account which tries to understand the self-presentation of Nazism for the purpose of thinking about how the soon-to-be-victorious United Nations might deal with postwar, defeated Germany. The analysis was in some ways far better than the movie, but there is really little point in "rating" a Nazi propaganda movie. To quote Bateson: "We should then have to ask whether the individual member of the audience is rewarded in any way for accepting the themes which are implicit in the film, and whether he is punished in some way for refusing to accept them. Here the answers must be affirmative. It is exceedingly difficult to enjoy a good film without accepting the thematic premises upon which it is based. Either we accept the premises and enjoy the film or we resist the premises and suffer a psychological or physical headache. It is in general exceedingly difficult to maintain any sort of intellectual detachment, to carry along as a part of one's mental state some reservation, while enjoying any form of entertainment. The audience may say to themselves: "This is a very good film"; and they may say to themselves: "But I disagree with the contrast which the film draws between Nazis and Communists." But combining these two statements is exceedingly difficult and tends to result in: "If this contrast between Nazis and Communists were true, this would be a good film." Thus the premise which an audience tries to repudiate easily ends up as a supposition which it temporarily accepts. "The propagandic effect of a film is perhaps stronger when, like Hitlerjunge Quex , the film contains both explicit and implicit suggestions. The audience member who repudiates the explicit contrast between Communists and Nazis may find it exceedingly difficult to repudiate the less explicit propagandic themes which the film contains." The propagandic theme which feels hardest to repudiate here was the relationship between the aspiring-Nazi boy and his communist father, which is drawn in more convincing psychological detail than lots of other aspects of the movie, both in terms of the abusiveness of the father and in terms of the ambivalence of the relationship. I probably never will forget the scene of the father hitting his kid in the face while forcing him to sing the Internationale, even as I actively reject the premise. It is fair to say that I have a headache, but then, I came to this film looking for a headache. Or rather, feeling that the headaches of struggling with the contemporary far right, trying to think about it, required going deeper than I have gone so far into headaches. I suppose it is a contradiction in some ways to believe in no platforming and yet to feel like I should watch this film -- to feel that I am a good enough guide for myself to wrestle with this film, to find the headache worth it, to find this more interesting than just reading about the premises and rejecting them sans filmic experience. Another side note: a lot of American reviewers seem to remark that, given the subject-matter and the intent of tarring the image of communism, the presentation of communism is surprisingly sympathetic in some ways. There may be a bit of sublimated romance, here, in the film. On another level, how thorough and effective was the propagandic effect of McCarthyism, that Americans are used to tarring the image of communism with much more extreme, cartoonish excess, and granting that the communist demands for land and bread may have some validity seems like a shocking concession. Bateson and others (?) seem to treat the film's presentation of communism as projection of what Nazism would be like without its snapping discipline. There's definitely something to that. At the same time, I have been to commie parties that could be subject to this caricature. It's still a caricature, obviously one that can be unpacked. But still, coming back to my question of the propagandic theme that is hardest to repudiate: it is the boy's relationship to his abusive, communist father *and the psychological desire for some kind of system of discipline and order, coming out of this experience.* I watch this film, find myself repudiating right and left, and yet also find myself imagining a degree of empathy with this desire. I remember being this exact age and finding high school keggers and drugs and so forth depressing, confusing, overwhelming, and to be something I rejected, while something that created some order out of chaotic life back-material was sometimes something I craved. Now, Bateson might say that the key thing here is that most of us adult viewers *grew out of it*, these sort of adolescent desires for order; and he certainly has a good point, that this movie presents Nazi psychology as frozen in pre-pubescence. In many ways of course that is not in the least attractive to a non-Nazi; in fact the presentation of Nazis as (barely) overgrown boy scouts was kind of bizarre, and also revealing. This may suggest, as well, a psychological trajectory and contrast between the Hitler Youth and our contemporary alt-right. If our contemporary alt-right in their more "provocative" moments are *playing at being Nazis*, the Hitler Youth are presented, like with something like the historical origins of scouting, as more like *playing at being knights or military heroes* who are in a way much more earnest and innocent than any kind of political movement we can imagine today. Of course this is an idealized self-representation. Have we arrived at a sufficient refutation? I don't know ... from an American standpoint, it is also very difficult, in some sense, to imagine the figure of the abusive, domineering, yet emasculated, working-class father as a communist. In an American context there is a complete dearth of communist father-figures of this sort, and what we are looking at is a long line of Archie Bunker figures. This is a premise that doesn't so much need to be refuted as contextualized, arresting as it may feel within the context of taking on the movie. I suppose the thing to realize here, on this specific question, is that one's psychodynamically rooted, pre-pubescent desire for order can lead to a lot of different things, from obsessively organizing your bedroom to, well, I guess, becoming a Nazi, and we'd need to be fucking challenging the naturalness of the latter trajectory ... but I'm not sure to what extent this appeal maps onto the contemporary one. What feels more resonant is not the sort of smirking role play of Richard Spencer / Kylo Ren types who are explicitly more about seizing power, but the desire for order and manliness of the Jordan Peterson fanboys. Perhaps this maps better onto the earnestness of this movie if we are looking for contemporary resonance. Of course I've only taken in Peterson by osmosis via his critics. Sigh. I suppose I need to watch / read some of his shit. Easy to see Peterson in the role of the district leader ... perhaps! Another thought that came into mind, which could really piss off some friends: as Nazi propaganda goes, today, is this more or less pernicious than "Seven Years in Tibet"? I am inclined to think a good deal less, because this is obvious Nazi propaganda, and everyone except fringe-y Richard Spencer acolytes will reject it on some level, whereas "Seven Years" rehabilitated a Nazi protagonist and Nazi and anticommunist aesthetic judgments in the context of a form of international solidarity that has been popular among liberals. Perhaps, though, being obsessed with the ideological vicissitudes of the Free Tibet movement is kind of an anachronistic concern in 2018, especially since China is still, in reality, suppressing its minorities. Still, *that* movie made me want to fucking throw things at the screen, because it felt to me like Nazi propaganda of a pernicious sort, a Nazi wolf in liberal sheep's clothing. I suppose there's no real point comparing that with open propaganda like this.

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