The Shop on Main Street: Holocaust in Film

Obchod na korze (original title)
Obchod na korze (original title)

The Shop on Main Street is a 1965 film directed by Ján Kadár. The film was originally presented in Slovak and Yiddish and was originally titled “Obchod na korze.” The film takes place in a small town in Slovakia during World War II and attempts to tackle the question of how the Jewish people were rounded up and deported to concentration camps. What was going through the minds of the Jewish people? Why didn’t they fight back? How did the average citizen allow their neighbors to be rounded up like animals and packed into cattle cars for deportation? Kadár addresses all of these questions and more. Besides being an informative and well-told story, The Shop on Main Street is packed with symbolism that further addresses the subject of the film. Symbolism is so prevalent in the film that Kadár was able to present much more information and meaning within the confines of the film’s running time than what seems possible.

The main conflict in the film is between the new fascist conception of the Slovakian nation-state and the Jewish people. Because of fascism’s focus on ultra-nationalism, “outside” elements had to be removed from perceived positions of authority and privilege, which resulted in Jewish people having their businesses removed from their ownership and placed under the control of an “Arisator,” an “Aryan” manager. The idea was that Slovakia was for Slovakians (expressed in the film through a marching cadence sung by soldiers marching down the street), and Jewish people were not considered to really be Slovakian. Later, the Jewish people were deported en masse for concentration camps. This conflict is the backdrop for the story that Kadár presents in his film, in which a bumbling “Aryan” carpenter named Tono Brtko is named the Arisator of a button shop on Main Street owned by a Jewish widow named Mrs. Lautmann.

Tono is a very complex character and his relationships with other people, how he interacts with them, is used as a plot device to symbolically portray the director’s opinion of the Aryanization and deportation process. Tono’s symbolism as a character in relation to other characters has multiple layers, starting with his wife in the opening scene, where Tono demonstrates a poor understanding of anything going on in the world while his wife badgers him for money. I felt that this was a critique of Slovakian society, and on a broader scale, Christian society in general, for the apparent greed displayed in the confiscation of Jewish shops and goods during the World War II deportations. It reminded me of something Elie Weisel wrote, when he said that while he and his family were being deported from their home town, he felt as if the people who had just previously been their neighbors were eagerly waiting for them to board the trains, so they could loot and pillage through their homes. Later in the film, Tono’s wife berates him for not finding the gold that Mrs. Lautmann must have buried somewhere in her house, as if all Jews were leprechauns and one need only catch one to receive a pot of treasure.

The other important symbolic relationship that Tono has is with Mrs. Lautmann, the owner of the shop he is supposedly taking over. Mrs. Lautmann is an old, slightly senile widow. Her late husband died in a war (World War I?) and since then she has been on her own, though technically she has been receiving a stipend from the rest of the Jewish community. Her shop is in complete disrepair, but she seems to be completely oblivious to the fact, and also demonstrates a lack of understanding of anything that’s going on around her, including her new “Arisator-Jew” relationship with Tono, until the last scenes in the film, when reality suddenly and painfully dawns on her. Even at that moment, however, instead of proactively trying to hide herself, she runs to her bedroom to study Torah. In this relationship, Tono clearly represents Slovakian society as a whole, while Mrs. Lautmann represents the Jewish community. In this film, while Slovakians are busy robbing the Jewish people of their property and preparing to deport them, the Jewish people are presented as being oblivious to the real dangers that are going on around them and only wake up to reality when it’s too late to do anything about it (Mrs. Lautmann suddenly recognizes the deportation event as a pogram near the end of the film).

The film does present a different view of the Jewish predicament in the form of Mr. Katz, who reminds the viewer that there really wasn’t much they could do in terms of rising up against their oppressors. After all, what could an old woman like Mrs. Lautmann and an old barber do when the fascist government troops were standing on every corner with automatic weapons? The film doesn’t present a clear and easy answer. I don’t think it intended to. It was meant to inform and make the viewer think about how and why something as tragic as the deportation and later near-extermination of the Jews could occur, and it does that well.

These observations are barely the tip of the iceberg when it comes to dissecting all of the symbolism and meaning in The Shop on Main Street. Ján Kadár’s film is excellently done, explaining both the mindset of the Slovakians and the relationship between the average Slovakian and the Jewish community that doesn’t overly simplify the situation into a black and white conflict. Other important aspects of the film are the references to animals and the natural order of the world vs. the activities of the Slovakian government, as well as an excellent use of music to set the tone, but those issues are beyond my ability to address in this short reaction paper.

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