But exactly. My point is not that Goethe is a monster; he’s a man. His human weaknesses and vulgarity are expressly presented.
But it was certainly NOT Spielberg’s intent to make Goethe appear as if he had a sheen of goodness, as Jarbabyj’s pink lemonde side wanted to see. (I like pink lemonade.) It was to illustrate the human banality of Goethe, the depth of his psychological perversion, to show the sort of men that do this.
Goethe, to my mind, defies traditional Hollywood convention of villiany. Hollywood has basically three kinds of villians
- Evil geniuses like Darth Vader, Hannibal Lecter, Blofeld, or any number of modern day Anne Rice I’m-so-cool-teenagers-love-me vampires,
- Cartoonish super-evil dudes like the Indiana Jones Nazis, or Draco Malfoy types, and
- Natural/supernatural killing machines like Aliens or Jaws.
Goethe is none of these. He is not a charming evil genius. He is not cartoonish at all - he’s horribly real (and of course based on a real person) and he’s not a shark. He’s a straightforward authoritarian sociopath, the most realistic sociopath I can ever remember seeing in a movie. So to address Jarbabyj’s queries about the two scenes in question, I don’t think Spielberg was AT ALL trying to tease us with the notion Goethe might do something good. I think the clear intent on a thematic level (tossing aside the enormous horror and tension value of what physically happens - remember how physically proximate Stern is to one of those incidents, and the danger he was in) was to demonstrate that Goethe was a man whose nature was sadistic and devoid of empathy - and to show Goethe as mirroring Naziism himself. Goethe, at least as portrayed in the film, is the absolute, 100% up and down perfect personification of a Nazi.
That’s why the scenes with Goethe and Helen are so powerful (and I agree, Jar; the scene in the basement is among the very finest ever committed to film) because it’s then that you best see Goethe’s humanity, and how truly twisted his humanity is.