Title: Jud Süß
Content:  Jud Süß (, "Süss the Jew") is a 1940 Nazi German historical drama and propaganda film produced by Terra Film at the behest of Joseph Goebbels. It is considered one of the most antisemitic films of all time. The film was directed by Veit Harlan, who wrote the screenplay with Eberhard Wolfgang Möller and Ludwig Metzger. The leading roles were played by Ferdinand Marian and Harlan's wife Kristina Söderbaum; Werner Krauss and Heinrich George played key supporting roles. The film has been characterized as "one of the most notorious and successful pieces of antisemitic film propaganda produced in Nazi Germany." It was a great success in Germany, and was seen by 20 million people. Although its budget of 2 million Reichsmarks was considered high for 
Title: Jud Süß
Content:  The film premiered at the Venice Film Festival on 8 September 1940 and received rave reviews, earning the top award. Unlike most of the other major antisemitic films produced during the Third Reich, it was a great box-office success in Germany and abroad. It ranked sixth out of the thirty most popular German films of the war years. Within the Third Reich, it was the number one film of the 1939–1940 season, viewed by audiences totaling over twenty million at a time when the population of Germany was some seventy million. In France, the film was released in February 1941, and was screened until 1944, gaining an estimated one 
Title: Jud Süß
Content:  Shooting began in March 1940 and, with the exception of some scenes which were shot on location in Prague, most of the filming took place at the UFA studios in Berlin Babelsberg. The scenes showing the entry of the Jews into Württemberg and worshipping in a synagogue were filmed in Prague where Jewish extras were coerced into performing. The total cost of production was approximately two million Reichsmarks, a rather high figure for German feature films of that era. However, between 1940 and 1943, it grossed over 6.2 million Reichsmarks thus making it a blockbuster in contrast to the commercial failure of Der Ewige Jude. David Culbert attributes the film's box-office success in large part to "its lavish sets, its effective crowd scenes, its skillful script, and the splendid acting by most of the principals."
Title: Jud Süß
Content:  Brauer assigned himself the task of directing the film. However, the project stalled out for a number of reasons including challenges in recruiting a suitable cast and difficulties in producing a script acceptable to Goebbels. At Goebbels' direction, Metzger was given a contract by Terra to write a script for the proposed film. He decided to base his script on the 1827 Hauff novella rather than the more recent and better known 1925 Feuchtwanger novel. However, when Goebbels read Metzger's draft of the script, he deemed it to be insufficiently antisemitic for his propaganda campaign. To remedy the script's deficiencies, Goebbels assigned playwright Eberhard Wolfgang 
Title: Jew Suss: Rise and Fall
Content:  When Ferdinand Marian's career was on the rise at the end of the 1930s, the Austrian actor was personally selected by the Propaganda Minister Joseph Goebbels for the title role in the feature film Jud Süß. Ferdibnard at first rejects the offer, but then succumbs to the temptation of a recognizing career. While filming under director Veit Harlan, Marian begins to change, which leads to an argument with his Jewish wife Anna. Jud Süß premiered at the Venice Film Festival at the beginning of September 1940 and opens in German cinemas a few days later. There the anti-Semitic propaganda film reached an audience of millions, and from then on Marian was identified as the role of the threatening-looking Jewish tax officer Joseph Süss Oppenheimer and 
Title: Jud Süß
Content:  When Nazi Germany occupied Poland in September 1939, it now had the country's Jewish population of 3 million under its direct authority. In view of the German populace's tepid response to the orchestrated violence of Kristallnacht, the Nazis perceived an urgent need for films that would move German popular sentiment in favor of the Nazi Final Solution to the 'Jewish question'. Frustrated with the delays on the Jud Süß project, Goebbels ordered Fritz Hippler, the head of his film department, to sack Brauer and bring in Veit Harlan to take over as director. After the war, Harlan claimed that no other director would touch the project and that he himself had tried to decline the role of director. The filmmaker Leni Riefenstahl, in her 1987 memoir, 
Title: Jud Süß
Content:  the persecution of Jews throughout history by producing antisemitic versions of those films with identical titles. After viewing Lothar Mendes' sensitive 1934 British film Jew Süss starring an exile from Nazism, Conrad Veidt, Goebbels was adamant that "a new film version had to be made." The impetus for the movie came from Joseph Goebbels' desire to make an antisemitic response to Mendes' philo-semitic film adaptation of Lion Feuchtwanger's 1925 novel Jud Süß. Because Mendes' movie was sympathetic to the subject, the scriptwriters shifted their model to Wilhelm Hauff's 1827 novella. However, even after Harlan rewrote the original script, the result was not antisemitic enough to suit 
Title: Jud Süß
Content:  propaganda needs, so he personally intervened in the editing process to the point of dropping some scenes and rewriting others, including making a substantial change to the film's ending to show Süß as humbled rather than defiant. Thus, the message of the film was diametrically opposed to the intent of Feuchtwanger's novel. At the same time, however, the film evokes Feuchtwanger’s texts, twisting and reversing the core of the Jewish writer’s work. Although inspired by the historical details of Süß's life, the novel, novella, and film only loosely correspond to the historical sources available at the Landesarchiv Baden-Württemberg. Christiane Schönfeld, who examines the connections between Feuchtwanger's 
Title: Jud Süß
Content:  with the issues of conversion and antisemitism. He was particularly struck by the fact that Süß could have saved himself by converting to Christianity but had steadfastly refused to do so, opting instead to return to formal Jewish observance and piety. Ashley Dukes and Paul Kornfeld wrote dramatic adaptations of the Feuchtwanger novel. A German-born American director, Lothar Mendes, directed a British film adaptation of the novel in 1934. This film (entitled Power in the U.S.) starred Conrad Veidt, and was an early effort to expose Nazi anti-semitism. It prompted the Nazi propaganda ministry to make their own version of the film, which starred the distinguished German star Werner Krauss, who had played the title role in The Cabinet of Dr. Caligari.
Title: Joseph Süß Oppenheimer
Content:  The story of Joseph Süß Oppenheimer was the subject of a number of literary and dramatic treatments over the course of the past two centuries. The earliest of these having been Wilhelm Hauff's 1827 novella titled Jud Süß. The most successful literary adaptation was Lion Feuchtwanger's 1925 novel titled Jud Süß based on a play that he had written in 1916 though never performed and subsequently withdrawn by Feuchtwanger. Ashley Dukes and Paul Kornfeld also wrote dramatic adaptations of the Feuchtwanger novel. In 1934, Lothar Mendes directed a film adaptation of the novel in which Süß was portrayed by actor Conrad Veidt. An anti-semitic Nazi propaganda film titled Jud Süß was made in 1940 by Veit Harlan, in which Süß was portrayed by actor Ferdinand Marian. In the 1990s, the German sculptor Angela Laich created a sculpture devoted to Joseph Süß Oppenheimer as well as illustrations for Hellmut G. Haasis's biography. In 2016 the movie Norman: The Moderate Rise and Tragic Fall of a New York Fixer was released, loosely inspired by Oppenheimer's life, starring Richard Gere.

Question: Who was the director of Jud Süß?
Answer: Veit Harlan.