Under the mentor’s guidance, Vollmer orders the murder of Nick, the weakest of his uniformed bully boys, in a manner that will place blame on their enemies. Tamping down Vollmer’s new euphoria, the shadowy figure cautions Vollmer that this is only the beginning. The fierce, feral emotions of the mob and of Vollmer are now one. Vollmer tells his acolytes that they are the sanctified minority who “will not give up the fight” against those “who stabbed us in the back,” the traitors responsible for gifting the Soviets with nuclear weapons. In vitriolic rants, Vollmer affirms frenzied supporters, calling them the true minorities, the last remaining America patriots willing to expunge Communists, monied internationalists and other enemies of white Christians. He stokes supporters’ fears that aliens will take over their homes and sully their daughters. Sharpening attacks on Jews, Blacks and immigrants, whom he calls “Izzy,” “Rufus” and “Poncho,” Vollmer attracts gatherings swelling in numbers and rabid enthusiasm. Over time, the authoritarian mentor counsels Vollmer, with effect, about crowd psychology and how to merge with the audience to grow their fears and resentments. Frightening and mesmerizing, there is something eerily familiar – in body language, hand gestures and timbre of voice – about the shadowy figure. Ernst recoils from sick rationalizations, but retains a residue of compassion for Vollmer.Īt outdoor rallies in the dark of night and poorly-lit meeting halls, a figure whose identity is hidden by shadows begins to mentor Vollmer. Pathetically, Vollmer tells the old Jew that they are friends who simply have different political views and that Ernst is the closest he has ever had to a father. With the authenticity of experience, Ernst confronts the sickness and destructiveness of Vollmer’s bigotry. Vollmer is now is his 20s, but Ernst still remembers him as the scared, insecure and confused child. Ernst, on occasion, provides Vollmer a place to sleep for the night on a couch. Ernst has provided shelter, food and empathy for Vollmer since, as a silent little boy, he would show up at the old man’s door in flight from a physically abusive father and alcoholic mother. Played by the actor Ludwig Donath, himself a Jewish refugee from the Third Reich, Ernst is a survivor of the Dachau concentration camp. After defeat and humiliation in a brawl, Vollmer, played brilliantly by Dennis Hopper, subsequently acclaimed for his role in the film “Easy Rider,” seeks refuge in the apartment of an old man, Ernst. Vollmer whines that someday people will listen and salute him. Hecklers tauntingly term Vollmer a “punk,” who merits institutionalization in a facility for the criminally insane. Vollmer delivers street corner diatribes against “foreigners” and other conspirators who seek to turn the United States over to “Palestine,” Africa, the Vatican and “yellow men.” Initially, Vollmer, commanding a handful of uniformed American neo-Nazis, meets derisive hostility, rebuke and splattering projectiles in response to his nativist invectives. “He’s Alive” details the rise and fall of Peter Vollmer, “a bush-league fuehrer,” who traffics in antisemitism as well as hostility toward Blacks, Catholics and immigrants in pursuit of his own affirmation and power. As an addendum to Kassan’s good work, it is timely at this moment in America to reconsider arguably the most influential “Twilight Zone” episode, “He’s Alive.” It originally aired from 9-10 pm EST on Thursday, January 24, 1963. In order to address controversial issues, such as racism, antisemitism, censorship, conformity, political paranoia and corporate greed on the small screen in an era of cautious advertisers and media moguls, Serling employed fantasy. Although Serling’s credits include screenplays for several iconic films, including “Requiem for a Heavyweight,” “Seven Days in May” and “Planet of the Apes,” his greatest impact came as the chief writer, executor director and host of the television science fiction anthology series “The Twilight Zone,” which ran on CBS from 1959-64. Recently, Lawrence Kassan, director of special projects for the Binghamton City School District, demonstrated this in an interesting and informative Zoom program: “Pioneering Mind of Television: The Life and Times of Rod Serling.” Kassan did an excellent job examining Serling’s personal and professional biography, particularly his Binghamton and Jewish roots. Rod Serling is perhaps the most famous and significant writer to hail from Binghamton, as well as its most prolific.
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