Michael Oren: "Downfall" Is About Letting Germans Off the Hook
The film, which has won several German awards and has been nominated for an Oscar, triggered nervous debate in Europe over its depiction of Hitler not as a one-dimensional monster but as a flesh-and-blood person, cruel and temperamental at times, but sympathetic and even fatherly at others. In Israel, where it is officially a crime to call a Jew a Nazi, the portrayal of the ultimate Nazi as anything less than demonic is bound to arouse controversy. But Israeli audiences have responded exuberantly, praising actor Bruno Ganz and his nuanced Hitler. Interviewed on Israeli television on Holocaust Memorial Day, Moshe Zimmermann--a historian who was once sued for comparing settler children to Hitler Youth--posited that this new, human Hitler served to demythologize Nazism and show how even normal people might be seduced by evil.
But Zimmermann thoroughly missed the point of the movie--as did most Israelis who saw the film. The Downfall is not about Hitler, human or otherwise, not about Nazism and evil. It is about letting Germany off the hook.
The film opens in 1942, when the 22-year-old Traudl Junge is chosen by Hitler to be his personal secretary. The Führer is here seen as an affable man, crinkly-eyed and patient, even when Traudl fails at typing his dictation.
Fast-forward to late April 1945, and Germany is on the brink of collapse. The Russians have penetrated Berlin, and Hitler, his Nazi cronies, and his staff are locked in an underground bunker. The denizens of this lair are divided between Junker-type generals (such as Wilhelm Keitel, Alfred Jodl, and Wilhelm Mohnke), who know that the war is lost and want to surrender honorably, and deluded lackeys (such as Propaganda Minister Joseph Goebbels and Eva Braun, Hitler's paramour), who insist that nonexistent German armies can still turn the tide and ultimately save the Reich. Armaments Minister Albert Speer makes an appearance and sides with the generals, while Heinrich Himmler favors allying with the Americans against Russia. A tremulous Hitler wavers between these positions, alternatively despairing and defiant. And beside him throughout stands Traudl, who, though bereft of hope, refuses to abandon her Führer. ...
The wickedness, the senselessness, the horror--all might have combined into soul-wrenching confession about a nation's descent into barbarity. But The Downfall, based largely on the self-expiating memoirs of Traudl and Speer, is concerned with exoneration, not penance, and realizes it through manipulation and deceit.
Take, for example, Traudl. She is the perfect ingénue: modest, demure, incapable of uttering an unkind or scatological word. Unsullied by ideology, she gapes incredulously every time Hitler makes an anti-Semitic remark. And, though she is played by the irresistible Alexandra Maria Lara, the Traudl character is portrayed as mostly sexless. She elicits not a single lascivious stare, much less a pinch, from any of the bunker's besotted officers. The real Traudl Junge, however, joined the Nazi League of German Girls at age 15 and was later elected to the elite Faith and Beauty society, whose members often mated with party stalwarts.
Other Nazis are similarly rehabilitated by the film. Ernst-Günter Schenck was an SS officer accused of performing experiments on prisoners at Mauthausen. Keitel and Jodl were both executed for war crimes--a fact mentioned just once before the closing credits--and Mohnke was charged with massacring Allied POWs. Speer, who is seen boldly ignoring Hitler's orders to destroy Germany's infrastructure, constructed his buildings with slave laborers. And the Wehrmacht, which is painted in such heroic colors that the audience cannot help but root for it, was complicit in countless atrocities.
What, Gott in Himmel, is going on here? Clearly, The Downfall is distinguishing between bad Germans (a small band of Nazis) and good (everyone else). The bunker's debauchery is contrasted with the suffering of simple Berliners, and Hitler's desire to destroy the German people for failing to win the war is compared with the army's determination to fight even though victory is impossible. The dusky lynch squads who hang Peter's father serve as a counterpoint to the fair-haired children who try to help others escape, and the ghoul-faced Goebbels is the reverse image of Traudl, who remains angelic even as she flees the city wearing an SS helmet....
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Dylan Young - 11/3/2005
Amongst the rhetoric in the article, Oren has some interesting points. However, he doesn't critique how the film could have been better. Maybe this would have opened up his opinion/s up to the dissection of others?
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