This face can be human if not its facial expression that is completely wiped clean from any sensitivity, not already mentioning compassion for what these eyes see. This face is like the front part of a missile on its way to destroy or like an armored car with an electronic choice of targets. This person (Mr. Herdhitze) is ready at any moment to start his destructible mission. He is a fighter with the soul of high-tech weapon.


Pay attention to his smile – it’s a smile full of irony addressed to another person. This smile’s energy is at the expense of somebody else, whom Herdhitze (Ugo Tognazzi) in this moment is targeting – Mr. Klotz (Alberto Lionello). It is not a smile of mutuality, equality, friendliness. It’s rather a smile which, as if, assessing and measuring the fighting distance of inequality between them – the person who is smiling (who feels in charge of the situation) and the one who soon will be put in his place.

Herdhitze holds in front of his mouth a secret about Klotz’s son which soon will completely debilitate Klotz as an opponent


Now we see, that the face we already saw in two previous stills is changed again – now there is no indifference as face armor or smile. Herdhitze’s eyes became naïve, as if dreamy, it’s Mr. Herdhitze was parodying his interlocutor and financial competitor Mr. Klotz who doesn’t know why Herdhitze unexpectedly visiting him and what a deadly surprise expects him about his son’s super-scandalous sexual identity which his competitor is victoriously ready to announce. By postponing his blow to the Klotz, by as if closing his mouth by keeping in front of it his secret between his two palms Herdhitze is laughing at Klotz’s ignorance about his son’s horrifying truth which is supposed to shock Klotz’s mind and heart to the degree that he instead of continuing to be financial rival will be transformed into the toy or poppy in Herdhitze’s hands.

Herdhitze holds in front of his mouth and nose his exclamatory finger of, as if, silencing the truth


The face of the billionaire Herdhitze changed again. Now he keeps in front of his closed mouth and nose his exclamatory finger. Now, when the secret achieved what it had to and shut up Klotz’s arrogance in front of his rival and now collaborator, the time is for Herdhitze to offer Klotz friendship to reward him with keeping the secret of his son untouchable. More, he offered him to unite their enterprises – to create the biggest monopoly in the world… by the price of the radical sacrifice Klotz’s perverted son. Like destructive fire in the forest creates rejuvenation of whole area, it is a time to sacrifice purposeless and empty-minded boy for his father’s enterprise.


Mr’s Klotz’s face shows his sensitivity – his emotional impulsiveness, which, as it’s well known, is not the best psychological background for a businessman, especially of Klotz’s caliber. While Herdhitze after WWII had to make a plastic operation, Klotz was continuing to do the same things he did during the war. Klotz (Alberto Lionello), in spite of his Hitler mustache and a hint of the hairdo was and is… a musician. He is able to create poems-songs accompanying them by the harp music he played himself.


Here we see Klotz horrified by Herdhitze’s revelation about Julian, Klotz’s son (Jean-Pierre Leaud). But Herdhitze’s proposal of sacrifice for self-enrichment was for Klotz like a beam of light – a salvation with one strike, which healed him through his own generally pragmatic orientation and artistic inspirations. Having hated his industrial rival Herdhitze during decades of their fight for economic domination, now Klotz decides that uniting their billions is healthier solution than to keep the son-sexual deviant as a dirty mark on his, Klotz’s name and future industrial and financial achievements.


Klotz’s artistic occupations (his closeness to art) were helping him to keep a cheerful nature which survived Herdhitze’s “nuclear attack”.


Klotz already was disappointed in his son before. He had no idea about his son’s demonic secret, but he didn’t like his independent attitude and emotional stubbornness. Now, when Herdhitze’s terrifying revelation struck him he not only “survived” it, but understood better the ambiguity of the reality (when his enemy of many years instead of just destroying him made a “rational” proposal of stopping hating one another and unite in peace with one another and in promising war with their new competitors. And this only on one condition – to get rid of his son whose disgusting secret is a direct danger for his father! Klotz was always suffering that his son was refusing to work with him in their family business, and this made him feel ashamed in front of his business colleagues. And now he feels free, and who has liberated him is, paradoxically, his old enemy, his business rival. That’s how an enemy becomes a friend, while his own son was the main obstacle for Klotz to feel himself happy. Viva production!


Here is Julian (Jean-Pierre Leaud), the sacrificed son of Mr. Klotz. He is just silently disappeared to nowhere, “vanished” by the words of peasant workers working for their master, Julian’s father. He was well educated for his age. And he was a burden not only for his father and mother, but for the universal industrial and money-making muscle of humankind.