Helmich is a regional sales manager at Fernfunk, an outdated company that played a key role in the introduction of the fax in Germany. The company’s current ad campaign has caused quite a storm on social media: In an ad for a new tariff, the only person who doesn’t read as white and cis-hetero is a waiter who serves the couples in the picture. The accusations of racism that are expressed with the hashtag #strammdeutsch, one defamatory chargewhich is not put into perspective by the fact that only about 80 people responded to the campaign, so it’s more of a shitstorm. Remote radio director Dr. Steinhofer (Michael Maertens) wants to improve his company’s image and hires a management consultant (Yun Huang) to design a strategic realignment and a technology consultant (Elyas M’Barek) to create an AI-based app for the company in form. of a face based on emoticons, the self-optimization of employees is actively supported. Hellmich should be promoted to sales director so that future campaigns are not lost, even though he is “really a nightmare in terms of quotas”.
Liefers plays this main character in Simon Verhoeven’s “Old White Man” in a despicable and sloppy way, as a discourse-damaged man in a corduroy jacket whose own anger is so internal that only his upper lip is under his old – habit. , a strong mustache begins to tremble – in other words, as a classic comic character , drawn too seductively and very sensibly with a very unsympathetic look. Toxic behavior? It’s just a matter of attitude, and ultimately it can be easily changed. As in “Welcome to the Hartmanns”, his filmic treatment of the 2015/2016 refugee crisis as a conciliatory family comedy, Verhoeven relies on punch lines that probably have something in common. abbreviated solutions about poorly understood problems: filmmaking as entertaining social engineering. In doing so, he soon ends up where German comics have long – perhaps mistakenly – taken the center of social discord: on family dining table.
The film literally sits down and discusses this over an unimportant current time. At an evening meal, in a successful act of self-praise, Helmich presents himself to his family and work colleagues as someone in need of therapy who is willing to learn, who already expects his own healing through self-knowledge, which he likes. to listen to his “black music records” more often and the taz trying to subscribe. The world of this discursive comedy may not know any real conflicts, but it knows the reconciling effect of fair compromises: “I certainly have a different opinion than you, that’s all right too.” In the final game, Verhoeven achieves an intellectual one Reflection and the apotheosis of his petty bourgeois fantasy: Hellmich, the dreamy rider through the steppe, stands barefoot in his garden, closes his eyes and spreads his arms again. Winnetou is finally back home.
Kamil Moll
Old white man – Germany 2024 – Director: Simon Verhoeven – Cast: Jan Josef Liefers, Elyas M’Barek, Nadja Uhl, Roxanne Rittmann, Meltem Kaptan, Denise M’Baye – Running time: 114 minutes.
Interview between Time.news Editor and Dr. Laura Engel, Cultural Studies Expert
Time.news Editor: Welcome, Dr. Engel! Today we’re diving into the intricacies of cultural representation and sensitivity. Our starting point is Simon Verhoeven’s film Old White Man, which addresses various issues of identity and societal norms through its central character, Heinz Hellmich, portrayed by Jan Josef Liefers. The film seems to critique the perceptions of privilege. What are your thoughts on the portrayal of Hellmich and the larger themes at play?
Dr. Laura Engel: Thank you for having me. Old White Man indeed presents a fascinating study of privilege, particularly white, cis-hetero privilege, as embodied by Hellmich. His character not only embodies the frustrations of a man who feels the societal tide is turning against him but also symbolizes the broader anxieties of a demographic that’s often reluctant to reckon with the impact of cultural appropriation and systemic racism. It’s a powerful juxtaposition to see his character, who once enjoyed unchallenged authority in the workplace, grapple with a changing landscape that calls for greater sensitivity.
Time.news Editor: Absolutely. The film’s recent ad campaign by the company Fernfunk is certainly controversial, generating backlash with the hashtag #strammdeutsch. This seems to be a direct reflection of growing societal expectations regarding representation. How significant do you think this response is in the context of media and advertising today?
Dr. Laura Engel: The backlash is incredibly significant. It illustrates a moment where audiences are increasingly unwilling to accept one-dimensional portrayals that lack diversity. The fact that Fernfunk’s ad only depicted one character of color—a waiter, no less—highlights the issue of tokenism. Such responses to advertising illustrate how media can either reinforce harmful stereotypes or challenge them, leading to real conversations about representation. Social media enables these conversations, amplifying voices that would have otherwise gone unheard.
Time.news Editor: So, in your opinion, was the reaction to Fernfunk’s ad blowing things out of proportion, considering only around 80 people actively engaged in the discourse?
Dr. Laura Engel: It’s essential to understand that social media reactions, regardless of scale, can hold significant weight. While 80 responses may seem minor, each representation counts. The collective anger may be rooted in deeper societal issues. It isn’t just about those 80 individuals; it’s about a larger movement advocating for accountability in representation. The conversation surrounding #strammdeutsch isn’t just about one ad—it’s indicative of a growing awareness of cultural narratives and who is allowed to tell them.
Time.news Editor: You mentioned the character’s journey and internalized anger. How do you see the theme of toxic behavior playing out not only within Hellmich but within the context of corporate culture as represented in the film?
Dr. Laura Engel: Hellmich’s character is a quintessential case of toxic masculinity. His anger and unacknowledged biases reflect a broader malaise within corporate culture—stagnancy in adaptation to societal changes. The film cleverly uses humor to illuminate these serious issues, especially through Hellmich’s comical yet despicable traits. It poses the question: how do organizations confront toxic behaviors while challenging the norms that allow them to fester? This is particularly relevant today, as companies strive for diversity yet often lack the true implementation of inclusivity within their corporate cultures.
Time.news Editor: if you were to summarize the film’s overarching message in light of your expertise, what would that be?
Dr. Laura Engel: Old White Man encapsulates a crucial dialogue about identity and transformation. It challenges the audience to confront their biases while pushing for a progressive shift in how culture is perceived and depicted. The film invites viewers, particularly those in positions of privilege, to reflect on their roles in a diversifying world, emphasizing that understanding and empathy can lead to change. Ultimately, it’s both a cautionary tale and a call to action for a more inclusive narrative.
Time.news Editor: Thank you, Dr. Engel, for sharing your insights. Your perspective certainly enriches our understanding of the complexities surrounding this film and its societal implications.
Dr. Laura Engel: Thank you for having me! It was a pleasure to discuss these pressing issues.
