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Rob Henderson joins me to talk about Look Who’s Back (2015) (watch on YouTube), a German film with the premise that Hitler returns to life and becomes a successful entertainer. We talk about the over-the-top antifascist messaging of the movie, as on the surface we see Germans indulging their racism, and (spoiler) at the end a Hitler voiceover as we’re shown the activities of modern day rightists.

Yet we can’t help but wonder… is there a Straussian understanding of the film, or perhaps the source novel? Frankly, Hitler comes across as really cool. He’s smart, talented, and charming. He learns about the world, takes initiative, and accomplishes his goals. Hitler gives fatherly advice. He has progressive views on women, and appears unbothered by all the homosexuality and gender bending he must observe in Berlin. Germans who oppose immigration are allowed to speak their piece. At the same time, the movie tries to give the impression that Hitler is actually talking to leaders of the NPD, with one of them asking that the cameras be turned off so he could express loyalty to the Führer.

As I found out from my research, this was a scripted part of the movie, but it was intended to give the impression that it was real. I mention how people will always take the surface level interpretation of a piece of art, so it is not difficult to send a hidden message. This is what has always made me skeptical of Straussian readings of books, as people will miss the point unless you make it very clear for them, and that goes even for sophisticated observers, who are unlikely to put that much effort into understanding any particular work.

Nonetheless, it’s fun to speculate. Scott Greer actually read the novel, and I asked him whether there was a way to read it from a pro-Hitler perspective. He replied yes, and the film actually made Hitler look even worse than the book. I await the Highly Respected episode on this.

Rob and I discuss German remembrance culture, and whether the same film could be made today. We also mention the eerie way in which a lot of people’s faces are blurred, which I’m guessing is the result of Germany having really weird privacy laws. I take this as an indication that there is something deeply wrong with their culture.

Near the end, we discuss the chapter on propaganda in Mein Kampf, and how Hitler would do as an influencer today.

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