Insdorf_Beautiful Evasions

Film and the llolocaust
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Annette lnsdorÍ
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Film and the llolotaust
Ihird tdition
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Annette lnsdorf
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CevrnnrDGE
PRESS
UNfVERSITY
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Dedicated to the
PUBLISHDD BY THE PRESS SYNDICA.TE OF THE UNIVERSITY OF CÄMBRIDGE
The Pitt Building, Trumpington Street, Cambridge, United Kingdom
Memory of MY Fatheç
Michael lnsdorf
Cá,MBRIDGE UNIVERSITY PRESS
The Edinburgh Building, Cambridge CB2 2RU, UK
40 West 20th Street, NewYork, Nf l00ll-4211, USA
477 Williamstown Road, Port Melbourne, VIC 3207, Australia
Ruiz de Alarcón 13,28014 Madrid, Spain
Dock House, The Waterfront, Cape Town 8001, South A-frica
and of My Mother-in-Law
Regina Berman ToPorek
http://www.cambridge. org
Annette Insdorf, 1983, 1989, 2002,2003
Foreword to 1989 edition @ EIie Wiesel
@
This book is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without
the written permission of Cambridge University Press.
First edition published 1983 by Random House
Second edition published 1989 by Cambridge University Press
Reprinted 1990
Third edition fi¡st published 2003
Printed in the United States of America
þpefacesMnion 10/12 pt. and
A catalog recoril for this book
Univers6T SystemË|$.2¿ [TB]
is at ailable
from the British Library.
Library of Congræs Catalogingin Publication Data
Insdorf, Annette.
Indelible shadows : fiIm and the Holocaust / Annette Insdorf.
- 3rd ed.
P' ; cm'
Includes bibliographical references a¡rd index.
ISBN 0-s2l-81s63-0 - ISBN 0-s2l-01630-a (pb.)
1. Holocaust, Jewish (1939-1945), in motion pictures. I. Title.
PN1995.9.H53I57 2002
791.43'658-dc2l
j
2002023793
ISBN 0 527 81563 0 ha¡dback
ISBN 0 521 01630 4 paperback
L-.
Narrative Strategies
110
"D
eat
bY
the ugly truth
with
a
- these hunted people could not take
brutal honesty that is enhanced, not evaded,
1
ages.
The film. . . is not a philosophical or intellectual examination of evil; . .. it does
not try to engage
out one character, as Anne Frank,
with whom we ar
ses on the daily survival of parents
and their sons. . .
atoes under cover ofdarkness and
drama is lighting a fire that could mean discovery.I0
B
eautif ul [vasions?
ultimate dePortation.
à
111
Beautilul Evasions?
113
Capolicchio), her friend
in synagogue. Giorgio's
as Micol's blue-blooded
es
the Finzi-Continis "don't
even seem like Iews," but is quite willing to adapt to the racial laws while considering
himself assimilated: "So there aren't any more public schools for Jews, no mixed
marriages, no phone listings, no obituaries in the newspaPer. . . at least a Jew can
be a citizen," he rationalizes to Giorgio. As the voice of accommodation, he
still
Nazism
even pretends that Mussolini is better than Hitler, and Fascism better than
-
willfully blind to the connection between the two.
The situation worsens as Giorgio is banned from the library where he is writing
his thesis. He continues his work in the massive Finzi-Contini librar¡ but soon
(Fabio Têsti).
when he sees Micol in bed with her brother's handsome friend Malnate
fate is deftly implied by the soundtrack, a Hebrew prayer for the dead that substitutes
the names Auschwitz, Treblinka, and Majdanek for those of departed loved ones.
The wailing cantorial voice accompanying the film's last images underscores
how even this aristocratic family must accept its fate as fews. Their demise is subtly
still photograPhs that
gh a fence, the camera
tennis court. The initi
to the barbed wire and barren ground of the concentration camps whose names are
entioned
cried out by the male v
Fi
in Grenoble, he encou
ít
The Garden of the
studYing
his arm'
"a
He inquires about its origin, and the blond man responds that he got it at Dachau,
just
surrounded
latrine
a
single
a
bath
with
room
no
hotel in the woods, 100 chalets,
service provided by the SS with the tattoo as a souvenir of their
h;spitality. the guests at Dachau are Jews, Communists, Socialists like myself . . . what
the Ñazis call the dregs of the human race." Significantly enough, this is the only major
scene that does not exist in the original novel.
The elegance of this response is in keeping with the tone of the frlm, which
neutralizes ho..o. and even strong emotions through high style. For instance, it
by barbed wire
-
Dominique Sanda (Micol) in The Garden of the
Finzi-Continis. PHoro
couRTESY oF cINEMA s
114
Beautilul
Na¡rative Strategíes
is noteworthy that we see Passover celebrations at the homes of both Giorgio
and
Micol. It is even more noteworth¡ or perhaps memorable, that the Finzi-continis
greet the holiday in black tie, embodying a genteel
|udaism that contrasts with the
unrestrained singing of Giorgio's family. In this sense, their identity as
Jews is played
down. Whereas the novel tells us that Professor Finzi-Contini "had asked permission
to restore, at his own expense, 'for the use of his family and of anyone interested,'
the ancient, little spanish synagogue onyiaMazzini,"l the film does not convey
this
kind of concern' Micol defines herself according to class rather than religion, as in
the
scene where she tells Malnate she doesn't like him because he,s ..too
inãustrious, too
communist, and too hairy" - all of which point to the lower-class origins symbolized
by his name (badly or lowly born).2
when the Finzi-continis arewrenched from theirhome, the image is trulyaristocratic: theytake nothing with them, unlike the other fews rounded up?or deportation.
Itjs this image of dispossession that haunts the viewer, as they are fãrced to abandon
all their beautiful things. Indeed, when a clumsy policeman accidentally
knocks over
statue, the gasp usually heard in the audience at this moment is revealing: the
1¡mall
film has led us to identify with a respect for beaut¡ a care for possessions, an appreciation of objects. The delicacy of the characters is mirrored ìn De Sica,s cinematic
style, with its aristocratic love of textures. In the latter part of the film, the camera
moves into a close-up of rose petals that have fallen from their stems a shot
that
expresses the situation and exquisite sensibility of the Finzi-Continis with
a lushness
of its own.
Fascist parade
in The Gørden of
Finzi-continis. pnoto couRrEsy oF .TNEMA s
115
Ultimately, it is gratuitous and even incorrect to fault The Garden of the FinziContinis because its central characters hardly seem or act Jewish - for they say as
much themselves. Already in Bassani's novel' the narrator admits:
That we were Jews. . . still counted fairly little in our case. For what on earth did
the word "Jew" mean, basically? What meaning could there be, for us, in terms like
"community" or "Hebrew university," for theywere totally distinct from the edstence
of that further intimacy - secret, its value calculable only by those who shared it derived from the fact that our two families, not through choice, but thanks to a
tradition older than any possible memory belonged to the same religious rite, or
rather to the same "school"?3
De Sica is in a sense as true to his subject here - the crème de la crème of Italian
lewry - as he was to the impoverished Italians whom he depicted in postwar
neorealist classics líke The Bicycle Thief and Shoeshine. This is a different kind of
realism that records the fragile and vulnerable beauty of a particular world just as it
is about to disappear forever.
Michel Drach's Les Violons du bal, previously discussed in Chapter 2, is a Proustian
exercise, in that ever¡hing the director (playing himself) sees in the present serves as
a visual "madeleine" to conjure up his childhood in occupied France. We therefore
view the past through the child's eyes or, more exactl¡ through an artist's idealizing
memorywhich selects only that which looks beautiful onscreen. Pauline Kael's review
in 1975 focused on this Problem:
private slang for "The others call the tune" - is
a romantic memoir about the efforts of Drach's gracious and beautiful mother to
save the family from the Nazis. Drach re-creates the Nazi period as he remembers
it - in terms of what his vision was when he was a little boy. And his memory seems
to burnish ever¡hing: everyone in the family is tender, cultivated, and exquisitely
groomed. . . . The smartly tailored hat that Marie-Iosé Nat wears for the flight across
the border and the fine gloves with which she parts the strands of barbed wire are the
height of refugee chic.a
LesViolons du
the
Evasions?
Bal-
the title is Drach
s
During the final escape through the woods to Switzerland, the mists conveyless terror
than scenery, and when the mother's hat falls off during her run across a freld, it is
hardly believable that their accomplice runs back into danger to retrieve it.
Questions of realism aside, Ies Violons du bøI's definition of |udaism - the ostensible reason for the famiþ s persecution - is sketchy. After one of his schoolmates
wonders if Michel is Iewish, Michel asks his mother, "What's a Jew?" Instead of an-
cheerfully tells his friends at school, "I'm a Jew" They hit and taunt him. He runs into
an ornate church, where the only person praying turns out to be his grandmother.
Michel is surprised to see her there, to which the smiling old ladyresponds, "So what?
I felt like saying a prayer." The casual substitution of houses of worship seems hardly
more problematic to this family than learning the new names on their forged papers.
116
Narrative Strategies
Beautiful Evasions?
111
A delightful scene toward the end of the film does little to particularize the identity
for which they are being hunted. When Michel is sheltered in the countr¡ the little
girl he "romances" gives him a religious medal from her neck. "But I'm Jewish," he
blurts out. "So what," says the girl. "My father's a Communist!" ,A, child's equation,
an adult's evasion.
It is, of course, beside the point to reproach Drach for not including a religious
dimension to which he himself was never exposed. A¡d he does acknowledge srylistically that the film is a personal exorcism rather than a historical document. For
example, the first sequence in the past shows the family reading about evacuation
procedures. Visuall¡ they are crowded into a narrow area oflight in the center of
the frame, surrounded by brown wood. Moments later, it turns out that they were
being viewed in a thin mirror - which the movers suddenly take away. Drach thus
implies that what we are watching is a reflection rather than "the real thing," and
that the characters are enclosed within the frame of his own recollections. For a less
romanticized chronicle of escape into Switzerland, one must wait eight years until
The Boat Is Full - a stark drama of what happened to some jewish refugees after they
had made it to the border.
Les Violons du bal does not show any nasty Nazis, a decision that seems less like
an evasion than a redeflnition of the enemy. As in The Løst Metro, the villains are
not German but French, and their cruelty is less physical than verbal or indirect.
greed than of German bullets'
Jean-Louis Tiintignant as Michel Drach directing Les Violons du bal. puoto couRrEsy
Aurore Clément (France)
i¡
Lacombe, Lucien.
PHOTO COURTESY OF
CARLOS CLARENS COLLECTION
À^
119
Beautiful Evasions?
Narrative Strategies
118
the French countryside. A title informs us that Lucien was arrested, court-martialed,
and executed on April 12, 1944.
Lacombe, Lucien's references to Judaism contain no positive resonance. "Monsieur
is a rich and stingy Iew" is how the easy-going fascist Jean-Bernard (stéphane Bouy)
introduces Horn to Lucien (while taking money from the tailor). when Lucien asks
Horn, 'Aren't the Jews the enemies of France?" Horn answers, "No, I'm not" (as
opposed to we'renoÍ). His identity is rooted in having been the best tailor on Paris's
chic avenue Pierre-I"-de-Serbie, an assimilated individual of exquisite taste. Dressed
in his dressing gown and
having once been high on
fed up with being a lew,"
Once
victims
ertain
blond
tearfu
ess
,
of
..I'm
rms.
is
his group
the collab
family), for it is again the French who are being placed under the microscope. Malle
faithfully caPtures the spirit of obedient collaboration that characterized much of
French life. "what they teach French children about the occupation period is a
bunch oflies," he told an audience at Yale University in 1978, referring to the collective
ä:'å:,Hî::
Lucien (played by Pierre Blaise) receives
won the war."
As she reads letters from informers, the coldly efûcient woman acknowledges: "we
get two hundred a day. one even wrote to denounce himself. It's like a disease.,,
The sickness is presented objectivel¡ with no directorial judgment expressed by selfconscious camera angles or editing. with the exception of the credits and the last
scene, the only music we hear comes from within the story (such as France's piano
playing) and is never used to manipulate the viewer. Lacombe, Lucienportrays the
collaborators as creatures of amoral impulse. Lucien's first action in the film is to shoot
a bird with a slingshot; later he shoots rabbits, poaches other animals, smacks a
hen's
head off- wanton killing that maybe unpÌeasant to watch, but that seems natural to
the farm boy. But by
in the
feed France and the g
redefin
Shot on
location
a
warning in Lacombe' Lucien' puoto couRrEsY
OF CARLOS CLARENS
As Horn tells him, "I
to Horn,s exquisite sensibility and to France's porcelain beauty.
to be labeled evil'
naive
too
seems
can,t bring myself to really hate you," for Lucien
people become
certain
why
about
Malle{ direction allows for deep ambiguity
axes to
admittedlyhave
headquarters
fascists. Some ofthe individuals in thã posh hotel
unattractive
the
"undesirable";
as
an
g;irra, tn. Uors was fired from the police in 1936
jealous of the woman's
maid who screams "Dirty lew!" hysterically at France is
Resistance leader that
the
by
told
was
;elf
attractiveness to Lucien; and Lucien him
these are ordinary
general'
In
join
group.
their
he was not serious or old enough to
f.opt., with recognizable imprilses, fe
i4ull. ,..-, to be saying: people who
broadcaster announces, "W. tt."t nothin
combe,
documentary: its first and last sequences chronicle simple daily existence with little dialogue. Lucien is playedbyanonprofessional, apeasantwho looks andsounds authen-
champion (one of Luciens heroes)'
Like
uP against'
io (the first
m
a
birycle
forties'
in the scene where
Lucien does not question the ludicrous fascist position articulated
in France?"
Bolshevism
'tDo
want
yo,t
or.
a
do
the "French Gestãpo" group arrest
by Jews
"De
is
surrounded
Gaulle
responds.
he
they ask him. "But I'rñ a Gaullist,"
to things and
ably difsians, and his
the frlm
rre Blaisewas
without
ever having made another film.) Lucien is an uncalculating and spontaneous animal.
Everlthing he is and does is externalized in action: his lack ofworldliness is even manifested by the clumsy way he smokes cigarettes. When h
long line for groceries, he pulls her up to the front in order
his "German Police" card. When he shoots the Nazi who
roundup, it seems like an unpremeditated action, sparked by the German's attempt
to pocket the gold watch that Lucien originally gave to Horn. Lucien is drawn to the
fascists because they accept him and make him feel important, but he is equally drawn
and Communists," theY retort.
It
Violons
seems hardty coincidental lhaf Lacombe, Lucien, Les
du bal,
Bløck
Thursdøy, and Mr. Kein - implicit indictments
all made in the mid-seventies. The French philoso
that "until 1969, nobodyknew there was somethin
heroism' The peoThere was a taboo during De Gaulle's era - an image of collective
French' The only
was
virus
the
that
outside,not
the
ple believed fascism ."*". froFrance'"s
was
itself
'de-fascize'
to
try
didn't
country in occupied Europe that
\
lìlar¡ative Strateg¡es
Beautiful Evasions?
Filmmakers in the seventies
-
following the stirring example of Marcel Ophuls's
and
ssy)
say
but
the Holocaust victim is lost.
Rainer Werner Fassbinder's LiIi Marleen (198 1 ) is the most insidious of the recent cinematic revisions of the Naz i era, a faity tale that gives a new twist to Hannah A¡endt's
term "the banality of evil." Shot primarily in English and then presented on American
screens dubbed into German with English subtitles, it is an exercise in displacement:
the Jews are wealtþ
the Nazis are either
character in the film
and comparativeþsafe,
benign,
whil
is the Jewish father."Mone¡
d what some viewers
construe as the film's obvious iron¡ it is no wondetthat LiliMarleenwasthenumber
one box-ofiÊce hit in Germany: it offers a myth about the late thirties that is comforting for those
people migh
Abote,Lucien assumes authority in Lacombe, Lucien.
Below,Pierre Blaise (Lucien) and Aurore Clément (France)
in Lacombe, Lucien. puotos couRTEsy oF cÁRlos cLARENS
Lacking
Mendelsson
Seyen Beauti¿s), a rich Swiss-Jewish conductor who heþs obtain false passports
for endangered Jews, and Willie (Hanna Schygulla), a wide-eyed cabaret singer of
dubious talent. Robert's father (Mel Ferrer) susPects the Aryan Wülie might foul up
/csa rather than
Mendelsson keeps secret from
ert is captured,
marry the nice )ewess that Pap
plus his son to
Mendelsson makes a deal with
for the frIm.
in
exchange
presumably
be returned across a bridge into Switzerland,
helping
really
(Erik
was
who
schumann),
After the war, willie and a leading Nazi
good
their
to
to
testi|/
witnesses
no
having
the Resistance all along, are on the run,
his
wife
seeing
is
conducting:
Robert
hall
where
deeds. Willie sneaks into a concert
night.
the
into
andcozy famil¡ she
significant
where the Iew is un
It
is
ing and closing locale is switzerland,
t: Robert's difÊculties arise only when
1r¿
Beautilul
Narrative Strategies
Evasions?
123
be
in Germany. And even there, the worst torture inflicted on this few is to
few
same
to
the
listen
to
forced
locked in a cell plastered with posters of willie,
..Lili Marleeri'without e;d. The Nazis never do an¡hing particularlyvicious
bars of
in hearing
orrr.r..rr, and during the big party sequence, they are more interested
long
is_quite
sequence
This
Witti" ,i.rg than in ãcknowleáging Hitler's birthday.
the
of
camaraderie
boisterous
for
the
and colorFul, laced with u kinJoi.rostalgia
he is
;good ola thirties." The quintessential German is perhaps Willie, naÏve but decent
that cruel things are
ai she claims, "I'm only singing a song;' when Robert tells her
happening.
'
Gemanswho are portrayed asvictims, for everytimeWillie performs
soldiers'
Marleen' in a radio broadcasi, there are intercuts of sad young German
Fassbinder
if
as
scene'
every
in
identical
be
(it . Uo-U footage and the faces tend to
informs her
ù"d .rr' out of film.) The displacement becomes evident when Henkel
A
incredulously'
repeats
she
"Six
million?"
that she is heard by six million soldiers.
is
who
Täschner,
for
his
sympathy
reserves
loaded number indeed. A¡d Fassbinder
itir r."ttyttre
.,Lili
dispatched to the Eastern Front when
sistance
serves to reinforce the complacency of
embers'
a
rela
organization is likewise depicted as
Aion (Gottfried John), abruptly blows up the bridge after Robert is returned to his
father. "I don t like that kind of deal" is his feeble explanation'
the resistance orFassbinder casts himself as Günther Weisenborn, the head of
of a German
name
the
he
appropriated
not,
or
ganization. (whether consciously
resisted the
who
Gentiles
celebrating
tary
áocumer
äirector who made Memorial, a
with
a
caricature
becomes
he
paunch,
and
beard,
Nazis.) With dark glasses, thick
of
music
the
Similarl¡
realities.
wartime
to
than
fu. má.. fidelity to-forties movies
charthe
with
identification
Jewish
potential
from
Lili Marleendistances the viewer
and heavily percussive
acters: almost every time they are shown' the melodramatic
in an interview: "It's
remark
Schlöndorff's
Volker
of
score roars in. One is remindåd
f,lm. The excessive
really quite difÊcult to give credence to the action in a Fassbinder
imaginationÌ'6
of
failure
the
melodiama tries to conceal
given to
The only self-consciously masterful touch in Lili Marleen is the name
itís
dtffi'cult
Dictator,
Great
The
have
seen
who
those
îor
Willie's Nazi patron: Henkel.
than
more
little
as
Nazi
Fassbinder's
view
to
not
and
to forget the parodic Hynkel
ofÊce
in
his
globe
a
with
toys
Henkel
-a
when
case
the
This is especially
r action
Abore,Hanna Schygulla
(Willie) in Lili Marleen.
BelowWlllie and Henkel
(played by Karl-Heinz von
Hassel) visiting the Führer
tn Lili Marleen. wo-ros
COURTESY OF UNITED
ARTISTS CORPORÂTION
u;of."i
wink this scene
visual echo of Cúaplin's delirious dance. Apart from the knowing
of chaplin s
end
the
at
balloon
globe
Ls
the
as
flat
is
Mørleeln
might constittrte, Lili
ballet.
a film about the
Finally, since the Mendelssons are the only |ewish protagonists in
is tantamount
that
again,
once
)udaism
believe,
us
have
would
Nazi era, hassbinder
the viewer
allows
Marleen
LiIi
calculation.
clever
and
to wealth, lack of solidarit¡
soulless
Ferrer's
real
danger.
of
way
out
his
buy
d*uys
.oolá
to assume that a )ew
ruthless
more
is
one
in
andthe
Jewishvictim
despoticpatriarch
characterization ofthe
his earlier [1979]
than religious (the same t in¿ ãr I.* that Fassbinder presents in
w'ho becomes a
inmate
Bergen-Belsen
a
former
Moons
Thirteen
ftlm, In ã Year of
so you
fiercely powerfui businessman). when it is difÊcult to accePt responsibilityonto the victims
don t have to think about your own role - how convenient to project
oPPressors'
the
of
characteristics
the despicable
I
I
The [ondemned
and 0oomed
penance."
in a concentratron
sandra's guilt over being alive while her father was murdered
"You
father's
your
have
iewish blood in
camp is heigñtened by her riother's screams,
Porter'
Dirk Bogarde (Max) and Charlotte Rampling (Lucia) in The Night
STILLS ARCHIVE
PHOTO COURTESY OF MUSEUM OF MODERN ART/FILM
Notes to Pages
114-145
371
Notes to Pages 82-110
(New York:
ntinis' lrarrs' Witliam Weaver
'Entre Nous,"' New York
Annette Insdorf, "childhood Memories shape Diane Kurys's
pp'
13,20'
1984'
24'
(Arts
and Leisure), lantary
Times
The Films in My Life
This and other Truffaut quotations are from François Truffaut'
(NewYork Simon & Schuster, 1978)' pp' 331-333'
Author,s interviewwith Louis Malle, NewYork, November
are from this interview
1, 1987. subsequent
aying the
f the film
elf into it
quotations
character
DanièleHeymann,..LaBlessured'uneamitiéperdue,,,LeMonde,5octoberI9ST'p.1
(translations are mY own).
1987'
olivier Pé¡etié, "un petit 'détail,"' Le Nouvel Observateur,2-8 october
(translations are mY own).
p'
and De Sica was exquisite'"
3.
106
4.
s'
Heymann, p.9.
two |ewish
d nag of tøarbles (un sac de billes,1975), on the other hand, is the story of
Doillon' it
by
Directed
Iacques
France.
southern
to
Paris
childien who must move from
incafrom
development
his
tracing
(Richard
constantini),
of
story
foseph
i. .""tty the
visibly
is
more
Maurice
brother
p".itutirrg fear tá flrst love and courageous action. His
is safely over himself' As
ileroic, in"sisting on helping other lews cross the border once he
LaDrôIesse(1979),theuseofnonprofessional
inDoillonsr,-rù.qrr.rrifrlåwithchildren,
is played by Ioseph
actors is effective. For instance, the father - who dies in Auschwitz Unfortunatel¡ this
district'
Goldenberg, owner of a famous lestaurant in Paris's Jewish
film never received American distribution'
..4
Passion for Social Justice',, Cineaste 1 1, 4 (Winter 1982): 37 .
Annette Insdorf,
..The
Dark Ages,,, Soho Weekly News, |anuary 19, 1982, p. 39.
Clarens,
Carlos
Martyrdom and
Annette Insdorf, "David:A õerman-Jewish Film about the Holocaust,"
4'
Resistance 8, 2 (March-April 1982):
" FilmQuarterlY
(Spring 1981), P' 6'
8 The Gondemned and Doomed
l. New Yotk Times, October 27 ' 1963'
2.Annettelnsdorf,"MakingComediesofCharacter"'NewYorkTimes(ArtsandLeisure)'
,
tt"tyJ"-iåï:
iÑ.*yort
,
lu,t'"*'o
Psvchotogv
*!-'l'.Analvsis of the Ego' trans'
Bantam Books' 1971)' pp'
17
James strachev
'76'
Polit¡cal Resistance
of Polis
1. It is certain that the predominance
Insdorf, 'A Passion for Social lustice," p' 37'
David," Long Island Jewish
Robert Liebman, "Two Survivors: Lilienthal and His Ftlm
World,October 30-November 5' 1981, p' 21'
Ibid., p. 20.
'The Revolt of lob,"'
seth'Mydans, "Hungary's wartime Anguish Is Relived through
New York Times (Atts and Leisure), May 27,1984' pp' 15'20'
2. Terrence De
,.
ln Hiding/0nstage
New York Times
Annette Insdorf, "How TÏuffaut's 'Last Metro' Reflects Occupied Paris,"
(Arts and Leisure), February 8, 1981' p' 2l'
1980, p' 64,
òeeStuartByron, "TruffautandGays," VillageVoice,October29-November4,
as "evidence ofthe
ofhomosexuals"
"unworried
acceptance
which applauds the director's
sPres, The Survivor: An Anato
i:þliJlål:**"izing 5'
of the Jews Refrltered bv
the warsaw Ghetto: Nazi rmages
the BBC," Shoahl, no' 1' P'
i. fii;;,t"Í.
can be
found in rchaim
- To Life!
that
(Harold Mayer , re73),a documentarv
containsarchivalmaterialabout|ewishschoolsintheGhetto.
supreme humanism of François Truffaut'"
lnsdorl "How Truffaut's'Last Metro' Reflects Occupied Paris"'p' 2l'
in the frIm," Tiuffaut
Throughout the frlm, Lucas is rarely in the light. "There is no sunshine
a great-effort not
I
made
and
cinematographer]
addedi visuall¡ Nestor Almendros [the
in
the period when it's
more
feel
You
film.
the
into
minutes
frfty
until
to have duy..er.s
nocturnal." Interview with the author, New York, October 1980'
(Fall 1980): 11'
Peter Pappas, "The Last Metrol' Cineaste 10, 4
of the Holocaust," N¿w YorkTimes
chapter
Another
Annette Insdorf,'A Swiss Film Bares
p'
1'
1981'
18,
October
(Arts and Leisure),
e Theory and Practice of HeIl:
"In
every con-
they
ers attained any degree of ascendanc¡
station
rescue
that it was, into a
7. Ibid., p. ls.
25' 1981'
8. Excerfted in program notes, Museum of Modern Art' NewYorþ April
9. Insdorf,'A Swiss Film"'P. l.
,.From
Arjentina, How 6 polish Iews Hid from the Nazisl' NewYorkTimes,
0. caryn James,
October 5, I988, P. C19.
'olr9cSttI¿r'oo¿;
6.
cured wherever Possible; healthY
camP' were smuggled on the sick
)