The Shop on Main Street

Elmar Klos and Jan Kadar together, in The Shop on Main Street, provide an example of the traumatic and paranoiac experience of Slovakia life under Fascist oppression (specifically anti-Semitism). The film displays everyday hardships typical to common peoples, such as those in the main character, Tono Brtko. Kadar focuses on human relationships and the human exhibition of power (social and or political). For instance, when the Tono and his brother in-law Mark are together with their wives at Tono’s Mark, with confidence, displays his power and abilities, those of which have been provided to him through the Fascist Slovakian party.

Tono, however, doesn’t have power to rely on; he’s weak in his marriage, and his closest friend is his dog. His confidence only extends so far throughout the film. Tono knows his abilities and uses them where he can; in his case, it is carpentry. He builds and refurbishes things, such as, the old woman, Mrs. Lautmann’s furniture (i.e. her dresser and mirror, etc). His other project is the Fascist monument that is being built in the middle of town.

Once he’s appointed the Aryan operator of Mrs. Lautmann’s shop he realizes the shop is only a front. His only brother in-law scammed him by giving him a shop that won’t provide him with any profit, oppressing his ability to succeed (exhibiting his power over Tono). At the shop Brtko is instructed by Kucher to let the woman still live and work at the shop while the Jewish community pays to support both Tono and her. This arrangement endangers Tono, Lautmann, and Kucher. Throughout the film we see the relationship between Tono and Lautmann, and Tono and Kucher grow. Tono finally develops a sense of responsibility. When he’s confronted about by his wife, Tono responds aggressively.

The Fascist set up a mass deportation of the Jews. This increases the films terror and intensity. Not only that, but the location where they gather the Jews is at the monument outside of the Lautmann’s shop. The paranoia increases as the film gets more claustrophobic. The tight and uncomfortable feeling that Tono is experiencing, from hiding Lautmann, emanates clearly throughout the end scenes of the film. His alcohol-ravaged mind is also tossing back and forth frantic dizzying ideas about whether or not to send poor old Mrs. Lautmann out to the square for deportation. However juxtaposing this with Mrs. Lautmann’s contentment and naivety toward the whole situation creates an awkward tension where even the viewer begins to get anxious.

In the end, all of the paranoia, chance and drama got Tono nowhere. And what are we supposed to feel about Tono? The pity that might arise does so because his hysteria was a product of the Fascist pressures and oppression. The film over all employs a more realistic aesthetic. Kadar’s character selection, and particular focus on common actions poses realistic questions about human nature, power, and perception.