"Look Who's Back" Film Sparks Debate: Richard Hanania Questions Portrayal of Hitler's Charisma

A 2015 German satirical black comedy, "Look Who's Back" (German: "Er ist wieder da"), which depicts Adolf Hitler returning to modern-day Germany and becoming a successful media personality, has drawn renewed attention and critical commentary from political writer Richard Hanania. Hanania, in a recent social media post, questioned the film's underlying message, stating, "The lesson seems to be...Hitler was kind of cool?" referring to a review he conducted with Rob Henderson. The film, based on Timur Vermes' bestselling 2012 novel, explores how contemporary society might react to Hitler's unexpected reappearance.

The movie, directed by David Wnendt, features actor Oliver Masucci as Hitler, interacting with unsuspecting real-life Germans in unscripted segments, alongside a fictional storyline. This "Borat-style" approach aimed to gauge public reactions, revealing some individuals who expressed agreement with Hitler's rhetoric, mistaking him for a comedian or impersonator. The film became a box office success in Germany, earning over ․10 million and sparking widespread discussion upon its release.

Critics and audiences alike have grappled with the film's provocative premise, which uses humor to highlight the potential for extremist ideologies to resurface in modern contexts. While the movie intends to be a cautionary tale about the enduring appeal of populism and the dangers of media manipulation, Hanania's commentary suggests a perceived ambiguity in its execution. His review, conducted with Rob Henderson, delves into whether the film inadvertently humanizes or even valorizes the historical figure by portraying him as intelligent, charming, and adaptable to the digital age.

The film's ending depicts Hitler, more popular than ever, observing nationalist Germans and concluding, "I can work with this," underscoring its warning about the persistence of far-right sentiments. However, Hanania's interpretation points to a potential "Straussian understanding" where, despite overt anti-fascist messaging, a subtext might be interpreted as making Hitler appear "cool." This perspective reignites discussions about the effectiveness of satire in confronting historical atrocities and the fine line between critique and perceived endorsement.