Emil Jannings arrived at the end of the silent era as a towering, internationally celebrated presence — he was the first recipient of the Academy Award for Best Actor in 1929 for The Last Command and The Way of All Flesh. But his attempt to parlay that prestige into a sound-era Hollywood career failed: his thick German accent doomed American prospects after his dual-language turn in The Blue Angel (1930) opposite Marlene Dietrich. When the Nazis seized power in 1933, Jannings made a conscious, career-defining choice to remain in Germany and become one of the chief faces of the new regime's cinema. Between 1934 and 1942 he headlined a string of Staatsauftragsfilme—Der alte und der junge König (1934), Der Herrscher (1937, directed by Veit Harlan), Robert Koch (1939), Ohm Krüger (1941), and Die Entlassung (1942)—roles that exalted authoritarian, unyielding leaders and directly served the Führerprinzip that Joseph Goebbels wanted on screen. Goebbels himself elevated Jannings to the honorific "Staatsschauspieler" (Artist of the State), cementing the actor's public identification with Nazi cultural policy.
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