Book Review: "Vertigo" by Harald Jähner

Full Title = "Vertigo: The Rise and Fall of Weimar Germany 1918-1933" by Harald Jahner

You all know by now how much I love the cinema of the Weimar Republic and how interested I am in the culture that covered the entire era. In the 15 or so years that the Republic was around, we got some of the best movies that the old horror era has ever seen plus, when a lot of these directors got up and moved to America with the oncoming of Hitler to Germany, we then got the Universal Monsters era of the 30s and then some. The Weimar Republic was truly one of the first eras of actual film and its stars.

Jähner begins by describing the immediate aftermath of World War I, focusing on the collapse of the German Empire and the abdication of Kaiser Wilhelm II. The Armistice of 1918 and the Treaty of Versailles left Germany humiliated and deeply divided. The sudden shift from imperial rule to a fledgling democracy was chaotic, as political factions like the Communists, Social Democrats, and extreme right-wing groups vied for control.

Revolutionary uprisings, such as the Spartacist Revolt, and counter-revolutionary violence from the Freikorps were hallmarks of this unstable period. Jähner delves into how the Weimar Constitution, established in 1919, was both an ambitious democratic project and a fragile compromise, born amidst turmoil and deep divisions in German society. This sets the backdrop for the film genres to develop but also presents to the reader the sheer amount of unrest even if we take away the First World War. Germany was at war with itself.

One of the most critical chapters in Jähner’s account is the hyperinflation crisis of 1923. He offers vivid descriptions of how the economy spiraled out of control due to reparations payments demanded by the Treaty of Versailles and mismanagement by the government. The value of the German mark plummeted, resulting in unimaginable inflation where prices doubled within hours. Middle-class savings evaporated overnight, pushing millions into poverty.

Jähner examines the social impact, with once-prosperous families forced to barter for food and fuel, and how this economic trauma led to widespread disillusionment with the Weimar Republic. Despite the suffering, Jähner also notes the strange atmosphere of reckless spending and wild escapism that flourished as people spent worthless money on luxuries before it became utterly valueless. Certain things were definitely for particular classes and not for others, showing us the divide of Weimar Germany even further and the discontent of the people with their current positions. The Middle Class were continuingly pushed over the edge and eliminated one by one but the super rich remained above the cycle.

Jähner explores how Germany, especially Berlin, became a hub for avant-garde movements in art, theatre, architecture, and literature. Movements like Expressionism and Dadaism flourished, and artists like George Grosz and Otto Dix captured the disillusionment and decadence of the era. Jähner also delves into the world of cinema, with filmmakers like Fritz Lang and F.W. Murnau pushing the boundaries of the medium.

He presents the Weimar period as a paradox: a society grappling with existential insecurity while simultaneously experiencing an unprecedented cultural renaissance, marked by experimentation and the questioning of traditional values. This is it people: the chapter that includes F.W Murnau and so, you can probably tell that this is my favourite chapter in the whole book because it discusses his importance to the German Cultural Landscape.

Jähner discusses how, despite the hyperinflation crisis, Germany experienced a brief economic recovery during the mid-1920s, which became known as the “Golden Twenties.” Fueled by foreign investment, particularly American loans under the Dawes Plan, Germany saw relative economic stability, a consumer boom, and rising employment.

Jähner captures the spirit of optimism and cosmopolitanism during this period, particularly in Berlin, where modern technology, jazz music, and Art Deco architecture symbolised progress. However, he also notes that this prosperity was fragile and built on unsound foundations, primarily foreign credit. When the global financial crisis hit in 1929, Germany’s brief recovery was obliterated almost overnight. I enjoyed this chapter for its more optimistic perspectives on the Weimar Republic than what regular readers on the era are used to. Though there was a global financial crisis, there were also people just trying to make the best of a bad time during the Versailles Treaty Era.

Jähner’s account of the final years of the Weimar Republic is one of inevitable collapse. He explains how a series of weak coalition governments, rising political violence, and the failure of democratic institutions to address the economic crisis opened the door for authoritarian solutions. The backroom deals and political machinations that brought Hitler to power in January 1933, despite the Nazis never achieving an outright electoral majority, are covered in detail.

Jähner emphasises that the Republic didn’t fall solely due to external pressures but was undone by its internal weaknesses, including the failure of political leaders to protect democratic values and institutions from extremist threats. And so, all in all, though the Weimar Republic fell - it is very rarely forgotten by those who investigate the history behind great 20th century cultural and artistic movements. It was truly a flawed superpower doomed to die.