Tessica Martin
Professor Priscilla Layne
German 265
6 December 2017
Relatability of a Psychopath Tin Drum is an eerie, one of a kind film based on the life of a young German boy, Oskar Matzerath in. Throughout the film, viewers follow Oskar’s journey during World War II Nazi Germany where he encounters numerous obstacles and awkward encounters. In the controversial story based on Gunter Grass’s novel, Tin Drum has stirred up numerous individuals and caused a great uproar (Fitzpatrick, 61). In the film Tin Drum, viewers are questioned why and how they feel sympathetic towards the anti-hero protagonist. This is exemplified by Oskar’s desire to fit in and fear of growing up.
The film is based in the city of Danzig in 1939, right before World War II broke out, and the Nazi Regime was in full force. Danzig was deemed a Free City at the Paris Peace Conference in the Versailles Treaty. This meant the country had free reigns to govern themselves with no one to control them. After numerous economic battles, the Great Depression ultimately created a downward spiral for Danzig and the city was eventually annexed by Nazi Germany (Fink, 528). The Nazi’s believed in the power of eugenics and creating a superior race. When Hitler rose to power between 1933 to 1945 his goal was to wipe out anyone who was physically, emotionally, or neurologically disabled because they were a hard to future genetics (Wimborne, 52). The majority of the victims caught and found were killed immediately but false death certificates were created to ensure their families did not question their whereabouts. But in order for the Nazis to achieve their superior race, it demanded they murder the majority of the population in order to start over with the better, exceptional race in their eyes (Wimborne, 53). This caused a major uproar in Danzig, Germany, and surrounding countries. As stated previously the main character, Oskar could be considered an anti-protagonist. He does not fall into the norm of a typical protagonistic role in his eccentric attributes. He is portrayed in a very sexual aspect with numerous pornographic scenes and inappropriate comments. He did not by any means fall into the typical Nazi norms, he was a dwarf and seen as disabled which the Nazis did not approve of. In one particular scene, Oskar’s father and Maria are engaging in sexual activity and Oskar nonchalantly walks in as if nothing is wrong, which is a very peculiar thing to do (Schlöndorff, 1979). Typical protagonist roles portray a brave, heroic, and relatable figure, however, this is not the case with Oskar. In a recent article from 1998, Richard Weisberg elaborates on the character stating Oskar wants people to see him as the “sick, distorted, grotesque” human that he is. He does not try to make himself seem noble or courageous or make false claims about his identity (Weisberg, 163). I feel this is an excellent representation of his anti-heroic role in the film, further supporting the argument. Oskar’s desire to fit in is clearly evident throughout the film but, how one may ask? Oskar is the epitome of exaggerated and abstract. From the time he was born, he had not fallen into the norm of Nazi reign. His exact origin …show more content…
“The Tin Drum.” Spirituality & Practice, Spirituality
& Practice, www.spiritualityandpractice.com/films/reviews/view/7625.
Fink, Carole. “Sean Lester, Poland, and the Nazi Takeover of Danzig.” Central European
History (Cambridge University Press / UK), vol. 43, no. 3, Sept. 2010, p. 528.MasterFILE Complete, EBSCOhost, doi:10.1017/S0008938910000488. Accessed 5 Dec. 2017.
Fitzpatrick, Eileen. “`Tin Drum' Seizure Prompts Lawsuit.” Billboard, vol. 109, no. 30, 26 July
1997, p. 61. MasterFILE Complete, EBSCOhost, search.ebscohost.com/login.aspx?direct=true&AuthType=ip,custuid&custid=s8455861&db=f6h&AN=9707302807&site=ehost-live&scope=site. Accessed 5 Dec. 2017.
Hughes, John. “‘The Tin Drum’: Volker Schlöndorff's ‘Dream of Childhood.’” Film Quarterly, vol. 34, no. 3, 1981, pp. 2–10. JSTOR, JSTOR, www.jstor.org/stable/1212032.
Schlöndorff, Voker, director. Tin Drum. Kanopy, 1979, http://unc.kanopystreaming.com/video/tin-drum Weisberg, Richard. “Why They're Censoring ‘The Tin Drum: Kristallnacht’ Reflections on the
End of the Epic.” Cardozo Studies in Law and Literature, vol. 10, no. 2, 1998, pp. 161–181. JSTOR, JSTOR, …show more content…
“Nazi Eugenics and Euthanasia--and Their Return.” Quadrant Magazine, vol.
56, no. 9, Sept. 2012, p. 52. MasterFILE Complete, EBSCOhost, search.ebscohost.com/login.aspx?direct=true&AuthType=ip,custuid&custid=s8455861&db=f6h&AN=79697406&site=ehost-live&scope=site. Accessed 5 Dec.
Professor Priscilla Layne
German 265
6 December 2017
Relatability of a Psychopath Tin Drum is an eerie, one of a kind film based on the life of a young German boy, Oskar Matzerath in. Throughout the film, viewers follow Oskar’s journey during World War II Nazi Germany where he encounters numerous obstacles and awkward encounters. In the controversial story based on Gunter Grass’s novel, Tin Drum has stirred up numerous individuals and caused a great uproar (Fitzpatrick, 61). In the film Tin Drum, viewers are questioned why and how they feel sympathetic towards the anti-hero protagonist. This is exemplified by Oskar’s desire to fit in and fear of growing up.
The film is based in the city of Danzig in 1939, right before World War II broke out, and the Nazi Regime was in full force. Danzig was deemed a Free City at the Paris Peace Conference in the Versailles Treaty. This meant the country had free reigns to govern themselves with no one to control them. After numerous economic battles, the Great Depression ultimately created a downward spiral for Danzig and the city was eventually annexed by Nazi Germany (Fink, 528). The Nazi’s believed in the power of eugenics and creating a superior race. When Hitler rose to power between 1933 to 1945 his goal was to wipe out anyone who was physically, emotionally, or neurologically disabled because they were a hard to future genetics (Wimborne, 52). The majority of the victims caught and found were killed immediately but false death certificates were created to ensure their families did not question their whereabouts. But in order for the Nazis to achieve their superior race, it demanded they murder the majority of the population in order to start over with the better, exceptional race in their eyes (Wimborne, 53). This caused a major uproar in Danzig, Germany, and surrounding countries. As stated previously the main character, Oskar could be considered an anti-protagonist. He does not fall into the norm of a typical protagonistic role in his eccentric attributes. He is portrayed in a very sexual aspect with numerous pornographic scenes and inappropriate comments. He did not by any means fall into the typical Nazi norms, he was a dwarf and seen as disabled which the Nazis did not approve of. In one particular scene, Oskar’s father and Maria are engaging in sexual activity and Oskar nonchalantly walks in as if nothing is wrong, which is a very peculiar thing to do (Schlöndorff, 1979). Typical protagonist roles portray a brave, heroic, and relatable figure, however, this is not the case with Oskar. In a recent article from 1998, Richard Weisberg elaborates on the character stating Oskar wants people to see him as the “sick, distorted, grotesque” human that he is. He does not try to make himself seem noble or courageous or make false claims about his identity (Weisberg, 163). I feel this is an excellent representation of his anti-heroic role in the film, further supporting the argument. Oskar’s desire to fit in is clearly evident throughout the film but, how one may ask? Oskar is the epitome of exaggerated and abstract. From the time he was born, he had not fallen into the norm of Nazi reign. His exact origin …show more content…
“The Tin Drum.” Spirituality & Practice, Spirituality
& Practice, www.spiritualityandpractice.com/films/reviews/view/7625.
Fink, Carole. “Sean Lester, Poland, and the Nazi Takeover of Danzig.” Central European
History (Cambridge University Press / UK), vol. 43, no. 3, Sept. 2010, p. 528.MasterFILE Complete, EBSCOhost, doi:10.1017/S0008938910000488. Accessed 5 Dec. 2017.
Fitzpatrick, Eileen. “`Tin Drum' Seizure Prompts Lawsuit.” Billboard, vol. 109, no. 30, 26 July
1997, p. 61. MasterFILE Complete, EBSCOhost, search.ebscohost.com/login.aspx?direct=true&AuthType=ip,custuid&custid=s8455861&db=f6h&AN=9707302807&site=ehost-live&scope=site. Accessed 5 Dec. 2017.
Hughes, John. “‘The Tin Drum’: Volker Schlöndorff's ‘Dream of Childhood.’” Film Quarterly, vol. 34, no. 3, 1981, pp. 2–10. JSTOR, JSTOR, www.jstor.org/stable/1212032.
Schlöndorff, Voker, director. Tin Drum. Kanopy, 1979, http://unc.kanopystreaming.com/video/tin-drum Weisberg, Richard. “Why They're Censoring ‘The Tin Drum: Kristallnacht’ Reflections on the
End of the Epic.” Cardozo Studies in Law and Literature, vol. 10, no. 2, 1998, pp. 161–181. JSTOR, JSTOR, …show more content…
“Nazi Eugenics and Euthanasia--and Their Return.” Quadrant Magazine, vol.
56, no. 9, Sept. 2012, p. 52. MasterFILE Complete, EBSCOhost, search.ebscohost.com/login.aspx?direct=true&AuthType=ip,custuid&custid=s8455861&db=f6h&AN=79697406&site=ehost-live&scope=site. Accessed 5 Dec.