‘V13’ Review: Hitler & Freud Walk Into a Bar…

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In relation to Friedrich Nietzsche’s concept of eternal recurrence and the idea that time is a loop (as depicted in shows like True Detective), one might ponder if time, from certain perspectives, could be an illusion. If events, morals, and ideas repeat themselves, what does this imply about humanity? This notion is somewhat similar to the “two guys on a bus” meme. This thought process leads us to Richard C. Ledes’ film V13, which is based on Alain-Didier Weill’s play Vienna 1913. In this movie, Alan Cumming plays Sigmund Freud and Samuel H. Levine portrays Adolf Hitler, as they depict two young men of Jewish origin in Vienna during 1913, with the impending threat of World War I hanging over Europe.

In simpler terms, Hugo, a wealthy pianist, grapples with his mysterious dislike towards people of Jewish descent and his intricate bond with his mother. In search of answers, he turns to Dr. Sigmund Freud, a renowned Austrian psychologist who is Jewish. On the other hand, Adolf is a self-centered artist whose intense hatred for Jews, liberals, and corrupt politicians fuels his German nationalism (which you’re already aware of).

Blending together the ideas of Nietzsche, Freud, and Hitler might lead to a confusing mix, and some might question its logical sense. However, it’s important to understand how these historical figures relate. Intriguingly, V13 begins with a captivating quote from Walter Benjamin’s 1940 book On the Concept of History:

“His [Marx] theory, like every leftist and progressive theory, finds itself faced by the fact of a great ‘progress’ in the technique of destruction, and must therefore either walk the way of affirming this progress or withdraw from the field of practical activity.”

This quote suggests that Marx’s theories, as well as other progressive ideas, need to address the advancements in destructive technology or risk becoming irrelevant in the realm of practical application. The question then arises: How do Nietzsche, Freud, and Hitler fit into this context? This is a complex matter that requires careful examination.

Interpreting historical events doesn’t necessarily equate to portraying them exactly as they occurred. Instead, it involves seizing upon a recollection that surfaces during a critical situation or time of peril.

Eternal Recurrence

In this prologue-like introduction, Ledes creatively explores themes of time and history by seamlessly merging contemporary elements with 1913 Vienna. Scenes oscillate between Freud examining Hugo in a chilling black-and-white setting, where cigar smoke hangs heavy, and a sleek modern car passing a building adorned with window air conditioners. The unusual juxtaposition of items like ringer T-shirts (a 1950s invention) and honey-blonde highlights (originating from the 1960s) in a film featuring Hitler and Freud lends an unexpected, quirky vibe.

To drive the main idea home powerfully, a scene in this film depicts Freud strolling past a Dunkin’. This implies that the past and the present frequently intertwine. Although things appear to have altered, is it truly so? The core theme of V13, which makes it an audacious piece of cinema in the politically contentious 2020s, is precisely this idea. However, Ledes’ adaptation doesn’t shy away from expressing its opinions; its profound conversations about human souls, Marxism, God, unconscious knowledge, incest, Medusa and Athena, among other topics, can sometimes be overwhelming. As German-American architect Ludwig Mies van der Rohe once said, “less is more.

A Stylish Examination of Dark History Through a Modern Lens

The hateful discrimination that affected Vienna in 1913 has resurfaced, affecting the United States now. In the three months after the start of what the United Nations labeled as Israel’s genocide in Gaza, there was a dramatic increase in anti-Semitic incidents in the U.S., with about 3,291 reported cases between October 7, 2023, and January 7, 2024, according to the Anti-Defamation League.

Indeed, the understanding of what constitutes antisemitism has changed significantly in recent times. An article published by The Guardian in March 2025, titled “The evolving definition of antisemitism is reshaping America – and advancing a Christian nationalist agenda,” highlights this shift. It discusses how the U.S. Supreme Court has been supporting religious arguments to overturn pandemic restrictions on gatherings and vaccination mandates, challenge LGBTQ+ non-discrimination laws, and weaken the division between church and state in education. Furthermore, the piece emphasizes that liberal Jews, particularly those supportive of Palestine, are frequently having their Jewish identity called into question.

The movie itself, filmed clearly in New York City, openly shares its purpose without much subtlety. However, it doesn’t explicitly reference Trump’s America. Instead, V13 subtly poses intriguing questions about the connection between past events and the emergence of ethnonationalism today. It manages to achieve this balance effectively; anything more direct might appear repetitive or unoriginal.

Symbolism and Metaphors Shine, Despite a Convoluted Approach

The movie V13 has a unique art-house style that can be both enlightening and puzzling. While it’s true that history without complexity might not exist, one might question if a period drama exploring the chilling prelude to Nazism should be so frequently obscure. The director, Alain Didier-Weill, expressed that he believed it was crucial for humanity to scrutinize the origins of Nazi ideology, much like Freud thought psychoanalysis was essential for all of humanity. However, the intertwining of Freud’s and Adolf’s ideas in V13 can at times be overwhelming.

In the movie, Medusa and Athena are frequently referenced, and a disagreement arises between Adolf and Hugo over Gustav Klimt’s 1898 painting “Pallas Athena.” Adolf angrily claims that Klimt designed the piece to create a debate among viewers, with some perceiving Medusa’s monstrous head as triumphing over Reason, while others see Reason dominating Medusa. It appears that Adolf harbors deep-seated disdain for Klimt, possibly stemming from more than just his portrayal of Greek mythological figures. Interestingly, Klimt was the president of the Vienna Secession, a revolutionary art movement that criticized the traditional art scene in Austria at the end of the 19th century. While Adolf finds Klimt’s depiction of Athena offensive, Hugo exhibits a more open-minded attitude, intrigued by the concept of ambiguity.

In one of Freud’s sessions, Hugo recounts a dream where he encounters both the Goddess of Reason and the Gorgon in a unique manner. He describes Freud as preventing Medusa from petrifying him. While analyzing this dream, various interpretations are explored, including the possibility that the gaze of his mother (Cara Buono) symbolizes that of Medusa. Initially, Hugo depicts himself as a puppet controlled by his mother, who in this context is Medusa. Later, he ponders if his mother may be the puppet herself, given that Medusa is described as a lifeless being who only interacts with the living by consuming them, feeding on their vitality.

As the investigation continues, the topic of incest is often discussed due to Freud’s influence. Instead, the question of where Medusa ends and Athena begins becomes more captivating. Could his mother be Medusa, or perhaps someone else like Adolf? Does Freud symbolize Athena in Hugo’s life? Hugo wonders if Medusa could transform into Athena, the Goddess of Wisdom, and if he can withstand the Gorgon’s gaze in real life. The film appears to answer the latter question at its conclusion.

In a previous dialogue between Freud, Dr. Jung (Andrew Stewart-Jones), and later psychoanalyst to Hugo, as well as a family friend, they pondered the link between subconscious wisdom and parents influencing their children’s beliefs. The topic of infantile desires and the hidden influence of repression also emerged during their stroll through a museum. They stopped at a wall displaying a short film projection. The film featured tarot cards arranged upright before the camera.

First, the Wheel of Fortune card was displayed, representing destiny, karma, life’s cycles, and fate. Following this, the Tower card appeared, symbolizing sudden change, disorder, and destruction. Lastly, the Devil card emerged, signifying oppression, limitations, and feelings of powerlessness.

As World War I drew near and German nationalism grew in popularity, these tarot cards seemed to predict both the imminent and distant future.

‘V13’ Isn’t All Talk, But It Does a Lot of Talking

This movie showcases an exceptional blend of recurring themes and symbols. A ferris wheel symbolizes both the Prater in Vienna and modern-day Coney Island in Brooklyn. The black-and-white color scheme interspersed with bursts of intense red is similar to Steven Spielberg’s 1993 film adaptation of Schindler’s List, a Holocaust drama that won seven Oscars. The juxtaposition of past and present is striking, yet unsettling, but the densely written script sometimes overshadows the movie’s stunning beauty.

In this version, I aimed to maintain the original meaning while making it more accessible and easier to read.

The movie titled “V13” powerfully explores the capacity for goodness within humanity amidst wickedness, emphasizing the influence of art, ethics, and personal freedom. This sentiment is echoed by Alan Cumming as Freud in his last utterances.

People have the unique ability to retrace their steps just before a critical juncture and opt for a different path instead.

    The film titled V13 is set to debut on April 3, 2025, at the IFC Center in New York City. Starting from April 4, you can rent or buy it on Vimeo, and it will also be accessible on various Video On Demand (VOD) platforms from May 13. For more details, check here.

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    2025-04-02 21:03