This is a movie about passion, dedication, wisdom and power. Heindrich Hofgen wants to be an actor, an actor above all else. His devotion to art and his dream is unquestionable, but one question that Szabo brings up is, at what cost? Is there a point where what is morally right or good outweighs selfish desires and driving motivations? The idea that too much wisdom can actually come from a very suspect source is an old theme. In Mephisto, all that Heindrich desires fame, artistic opportunity and influence, are offered to him by the prime minister under the new Nazi regime. At this time, everything from work to art is controlled by the regime and censored by the regime. And Heindrich wants to be an actor at any cost, but more specifically, a German actor. He begins the movie on the left side of the political spectrum, working for the best side of every citizen and Szabo relates images of socialist realism in art throughout his film. Finally Heindrich is offered a great role, the role of his dreams, what he has been striving for and he sells his soul to the Nazi regime by playing Mephisto. He forsakes all that he has previously stood for and his journey through temptation and the evil continues until the end.

The movie opens on the stage, the audience is instantly drawn into the arena, we become players in this production. The decadence of the costumes and presentation represent the glamorized pre-World War II era. All of this will change with the election and appointment of the Nazi regime. The scenes cuts from the applauding audience and the beaming actors to a sullen and frustrated Heindrich in the dressing rooms, the cheers echoing from the stage. It is here that the viewer can see his burning desire, how much he wants all that glory for himself. His main passion is to dominate the theater world, in a sense it becomes his religion and moral code. We see that he is an actor who would willingly give up anything for fame and success.

The first half of the film portrays Heindrich’s rise to the top. In the beginning he is a harmless actor, who wants to succeed. Yet, there are signs in his character that foreshadow what is to come. He cares little for the people in his life. It is hard to believe that he is on the side of the people when he only cares about advancing himself, and he does this by trying to please the majority. Like everything else in his life, this is merely another role to him. He professes his undying love to Barbara because it will help the his career. He acts throughout his life, as he himself says “An actor is nothing more than a mask among people.” Heindrich continually masks himself, playing the part that will prove to be the most beneficial to him. He manipulates people and situations, all with one agenda in mind artistic power.

It is only Juliette that truly understands Heindrich. She sees through his “lying, cold eyes” and recognizes the man behind the mask. She understands that this man is an outsider, like herself, because he is constantly trying to move into a new society or group to better himself. Like she, he belongs no where except on the stage. Juliette, as a black woman, understands the concept of always trying to conform and she shares his love for art. The stage provides a sanctuary to both Juliette and Heindrich. But Heindrich is unwilling to sacrifice his art for this woman. He is more loyal to his craft than to anyone else, even himself. As the movie progresses, the viewer is able to comprehend why Heindrich will later make the decisions he does. All of his decisions are very consistent throughout time. There will be no obstacle that will separate Heindrich from the destiny he desires.

Heindrich’s vision for the future of the stage corresponds with the political beliefs of the period. He recognizes the isolation of the audience and the actor and has aspirations of merging the two worlds into one “a total theater, one that shocks and inflames them.” His egoism is evident and it is driven by his passion and insecurities. He loses his mind over the misspelling of his name on the playbill “My name is Heindrich Hoffman, you should remember that name,” he thinks only of fame, of being known, of proving himself as the greatest German artist of the stage to the world.

At this time Heindrich is working at the state theater and the influence of the approaching Nazi regime slowly becomes noticeable; fellow actors are fleeing and “no Jews” are allowed into the theaters. This corresponds to the time with Heindrich is just beginning to reap some of the notoriety he craves. He uses any method he can, and puts on the mask of the man deeply involved in the cause of the common man, therefore gaining fame through politically charged performances. He sings songs with words such as “what does the proletariat want? That no one should rule...freedom, equality for all.” The papers herald him as “conquering the heart of the Berlin worker.” It is such a contradiction to the true Heindrich, who only thinks of himself and his own destiny. He rallies behind ideas of “everything for the people” and the hopes of “unity and strength in the sons of one nation,” because he knows he will reap individual benefits.

At the time when Heindrich first portrays Mephisto, the political scene is drastically changing. The decadence of the beginning is being replaced by the new regime and the emphasis is moving away from cultural liberty. When Heindrich first accepts the role of Mephisto, he is told “Mephisto is the role of your life.” This line has a double meaning, it is either the artistic achievement he has pursued or that the life of Mephisto, he is a character very similar to Heindrich’s own self. Either way, Heindrich is linked to Mephisto in such a way that the eventual outcome is inevitable, he will succumb to the temptations and sell his soul to achieve what he desires.

Eventually, the National Socialists win the election and Heindrich’s wife, Barbara, wants to leave. She believes that under the Nazi regime, not only will their lives be in danger, but their artistic work will no longer be an alternative. She insists that they must take a definite stand when freedom is in danger. Heindrich refuses to leave because he is finally making it and does not want to give it up now. His actor friends tell him that it is “time to resist and rise against the dictator” and want to use the stage as a political tool for influence. Once again, Heindrich disagrees. This would damage his personal reputation, he simply wants to act and be famous. His wife and friends flee and he returns to Berlin, to the stage.

It is symbolic that the last role Heindrich played at the state theater,

under the old regime, was Mephisto. Under that regime, Mephisto was a Faustian character and embraced a classless artistic integrity. The first role that Heindrich accepts upon his return to the stage under the Third Reich is once again Mephisto. This is a new Mephisto, one that does not celebrate cultural bolshevism and instead represents the philosophies of the new regime. After his first performance the prime minister calls Heindrich to his box to congratulate him. There the prime minister tells him “you must have prepared long for this.” Heindrich responds with “My whole life.” The prime minister nods his head in approval, and the music rises as Heindrich looks down from the balcony at all the people below him. This is the turning point of the film. It is sealed that Heindrich has given himself to the devil. Symbolically, as he looks down while in character, the devil has finally ascended. Heindrich wants to be God, he desires power in the theater world. From this point on it is just an escalating accumulation of power, prestige, and laurels for Heindrich. The prime minister confides in him that

“A bit of Mephisto is in every true German. Mephisto is one of our national heroes, but that’s something we shouldn’t tell our people.”

Heindrich has sold his soul to the Nazi party. He hasn’t defied anything that he previously stood for because those ideas were not his to begin with. Heindrich attends the party gatherings, speaks at their events and signs their documents, but he is once again acting. Heindrich has succeeded in continuing his own self-deception while achieving his ultimate goal. He has fame, power, money and position as the president of the Prussian State Theater. It is important to notice that from the time that Heindrich ascended into the prime minister’s box, he has referred to Heindrich only as Mephisto.