German films about Nazism often face the evil eye from reviewers. No exception in this case. Director Oskar Roehler clarified; "Our aim was to enter the innermost sanctum of Nazi high society, and to portray how seducible artists were in the Third Reich". The Third Reich is not to be trifled with. Not now, when we finally have mapped and interpreted Nazism forever. This film delivers a different message and conclusion. De- demonizing the clowns and incarcerating the followers. Many have been outraged by the unabashed rough sex between Gudrun Landgrebe's and Tobias Moretti's characters. Not to mention the brilliant scene where the merrymaking German locals whines about the crumbs that the American liberators hands over to the surviving camp inmates. "Jud Süss" is played out as the war operetta it was. Blind, boisterous, excessive, orgastic, self-indulgent, greedy, in curling pastel colors. Much like Fassbinder's "Lili Marleen" or Szabó's "Mephisto". Nazism and its demons is still a moneymaker in the media world.