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The New German Militarism

This New Militarism is a phenomenon that goes beyond the fact of massive, debt-driven re-armament, disturbing as that may be: by the end of the decade, Berlin is planning to have a defense budget the size of those of France and Britain combined and be in self-asphyxiating debt for it. Half of the state budget will go to the military, while Germans are being shell-shocked by ever more austerity, already including a ruthless pension “reform,” that is, in reality, a demolition. A policy that will produce masses of Germans who are very deprived but also very well armed – what could go wrong?

The delusions come and go, German militarism abides

Tarik Cyril Amar, Sep 13, 2026, https://www.newglobalpolitics.org/the-new-german-militarism/

It is the summer of 1943. After catastrophic defeat in the Battle of Stalingrad, Nazi Germany’s legions are retreating before the Red Army. That’s the backdrop to the German – and Amazon–produced–movie “Der Tiger” (English title: “The Tank”). Officially billed as an antiwar movie, “The Tank” is anything but. Yet the fact that it is really about five tough men on a lonely commando mission is trivial.

For, just like “The Tank,” most so-called “antiwar” movies are, in reality, war movies, fascinating their Homo sapiens primate audiences with the action, suspense, and drama of fighting, while inviting identification with at least some of those who do that fighting, be they cast as heroes or anti-heroes. Consider, for instance, the American films “Platoon” and “Full Metal Jacket” (both set it Vietnam) or the Russian “9th Company” (set in Afghanistan). Indeed, it is hard to think of any genuine and consistent anti-war movies. Two that probably qualify are the American “Paths of Glory” (World War One on what the Germans called the Western Front) and the Soviet “Come and See” (World War Two on what the next generation of Germans called the Eastern Front).

“The Tank” certainly has heroes, and they form a classical “band of brothers,” Hollywood-style. There is the brave stoic (the commander) with ice in his veins but a humane, even self-sacrificing side reserved for his men, the intellectual and – mild – doubter (in civilian life a teacher of Latin with eternal-student glasses), the urban proletarian (the cursing driver, speaking not with a New York accent but in the demotic Berlin version of German), the man from the country (just not Kentucky or Alabama, but the Austrian Wachau and its vineyards), and, of course, the youngster, innocent, frightened, but, ultimately, up to a – German – man’s job (removing a booby-trapped tank mine).

At the end of the movie (spoiler alert), it is true, the fantastically implausible story of the men in the tank on their way to their own heart of darkness on the “Ostfront” has an unsurprising twist: “The Tank” is really a “Schauergeschichte,” a tale of sublime dread, a sort of “Erlkönig with Tanks” or “Sleepy Hollow and Nazis.” The crew’s militarily bizarre special mission is not, it turns out, real but a near-death experience or vision – think “Jacob’s Ladder” (1990) – confronting the commander with his responsibility for burning to death women and children in Stalingrad. The gray zone crossed by the “Tiger” to retrieve a mysterious and inexplicably important German officer holed up in a remote bunker – think Colonel Kurtz from “Apocalypse Now” (1979) – turns into the equivalent of either purgatory or the road to hell.

The horror, the horror: The audience has been watching, in essence, virtual ghosts mistaking themselves for the living – think “The Sixth Sense” (1999) and also the Russian “White Tiger” (2012), another spooky World War Two tank story that must have inspired “The Tank” but is, unsurprisingly, never mentioned.

But before (and despite) these revelations, the men in the tank are stereotypically attractive in a well-worn, macho way, baiting our sympathy. They also, of course, happen to serve Nazi Germany or, as they keep saying, the “Reich.” Indeed, the tank men are not merely members of the regular German military, the Wehrmacht, but the Waffen-SS, skull-and-crossbones emblems included.

Notwithstanding its especially striking form, this plot device is nothing special. In the 1980s, the extremely successful “Das Boot,” for instance, about a German World War Two submarine sinking merchant ships and their sailors while battling the British in the Atlantic, offered the same artless yet effective combination of identification with German soldiers and a plot that signaled some sanitizing distance from the regime they were actually fighting for: Yes, strictly speaking they are fascists burning and drowning literal antifascists, but you can still root for them. In “Das Boot,” as in “The Tank,” the effect is reinforced by everyone or almost everyone dying in the end, adding the pity that spectacles of futility among the brave may inspire.

Finding ways to feature German World War Two soldiers as heroes and victims while adroitly, or not so much, airbrushing their allegiance to a monstrous state waging often genocidal war has been a special skill of postwar (West) German film-making and succeeded with large audiences at home. Not so much Rainer-Maria Fassbinder, as it were, but the very popular kitsch of Peter May’s “08/15” trilogy, for instance.

Film-making in the former East Germany, incidentally, had its own, different, complicated as well as almost touchingly transparent ways of putting victims and even heroes into German World War Two uniforms, such as in the “Geheimkommando” miniseries.

Hence, what makes “The Tank” interesting and a sign of the times is not only that it invites its viewers to identify with German soldiers fighting against Soviets, certain to be read as Russians, and for Nazism, but that the film has coincided with the rise of a new German militarism.

This New Militarism is a phenomenon that goes beyond the fact of massive, debt-driven re-armament, disturbing as that may be: by the end of the decade, Berlin is planning to have a defense budget the size of those of France and Britain combined and be in self-asphyxiating debt for it. Half of the state budget will go to the military, while Germans are being shell-shocked by ever more austerity, already including a ruthless pension “reform,” that is, in reality, a demolition. A policy that will produce masses of Germans who are very deprived but also very well armed – what could go wrong?

September 16, 2026 - Posted by Christina Macpherson | Germany, media