During the 1930s Hollywood film production rarely focused on storylines about the lives of minorities or subcultures in the United States. This was especially true where America’s Jewish population was concerned, as film executives were reluctant to green-light stories that might not attract the widest possible audiences. As there was also considerable anti-Jewish prejudice and open discrimination practiced against them during this era, most of these powers-that-be (Jewish immigrants only one or two generations away from Europe themselves) did not want to risk inflaming this tenuous situation further.
One of the rare exceptions during this difficult period was the high profile picture House Of Rothschild released in 1934 by Twentieth Century Pictures which would soon become the much bigger and better known 20th Century-Fox. This was one of the important films we studied during my FMS 313: Antisemitism In Media course, and here is what I posted back then for the e-discussion board, what I researched about regarding House Of Rothschild:
The Atlanta Constitution article of July, 1934 offered nothing but praise for House Of Rothschild as the film apparently proved to be popular with audiences of the day, since it returned for a second week at the leading Lowe’s Grand Cinema. The Constitution review stated that Rothschild had “…a breadth of understanding, a sympathy and a general appeal which are immediately placed among the finest screen product.” Within the brief plot description the reviewer makes note of the fact that the Rothschild story begins in the restricted ghetto of Frankfurt, Germany — but makes no mention of the family’s Jewish origins.
Rather, the review makes note of how the elder Mayer Rothschild (portrayed by George Arliss) emphasizes the importance to his sons regarding honor and integrity when carrying on the family business. As the reviewer said, Dying, Mayer gathers his sons to his bedside and exhorts them to carry on their business as a family and to observe the principles of integrity and fairness which have always influenced the Rothschild’s as they gathered their fortune.” If anything, the film would seem to portray Jews in a flattering context as the Constitution story continued to describe a little more of the Rothschild story with the family supposedly being influential in Europe. They used this influence and their substantial resources to help restore stability in Europe during the second tumultuous period of Napoleon instigated warfare in early 19th century throughout the continent.
Though the family’s Jewish background is still not specifically mentioned, the article notes that the Rothschild’s were able “to attain for their race the protection and liberty which has been previously denied to them.” Only at the conclusion of the Atlanta Constitution piece is any mention made of ethnicity with the statement: “Boris Karloff is see as the Rothschild’s principal enemy in the aristocrats’ attempts to boycott the Jewish moneylenders, to whom, in time all Europe must come for aid.” The last comment could be taken as a bland, innocent statement of plot summary — or, (depending on who was reading the review) as Jews being negatively associated with having excessive financial control and influence over the larger society.
Moving along, a New York Times summary mainly compliments the fine acting skill of George Arliss in a leading role. Although the review carries on excessively about the plot, is still quite pleased with the House Of Rothschild overall when declaring: “Where there are embellished bits of history, it is all so well done that it makes a grand show. The dialogue is smart and often witty and the direction and staging are excellent.” Critic Mordaunt Hall continues: “A romance between gentile and Jewess is quite adequately portrayed by Robert Montgomery and Loretta Young.” Otherwise, there is not much particular mention of Jewish characters except for a reference to the Frankfurt ghetto – just as the Atlanta Constitution noted and nothing that could be viewed as negative or insulting to Jews.
