“I always wanted only the best for Germany.” In the prison yard, the rifles of the firing squad were at the ready. The condemned man, seeing their nervousness, tried to calm them. They shouldn’t blame themselves, he said. They were only doing their duty. He himself stood strong. “Shoot well, comrades,” he finished, looking each of them in the eye. The giant-like man before them had been sentenced to death for cowardice. A travesty of justice. Not that it was any of their business. That the condemned man, a former general, had put his signature to hundreds of execution orders carried out in that very place, wasn’t their business, either. Still, they didn’t like it. Not any of it.
Vogelschiss. Birdshit. A German politician used this word recently to describe the National Socialist regime which ruled Germany from 1933 to 1945. He was looking for a new perspective, one which would reduce the Nazi dictatorship to proportion in a thousand years of mostly successful German history. Elections were in the offing, and he may have felt that he needed attention. Because I am reluctant to give him any, he will be referred to here as Mr. Bird, leaving out the second syllable.
Claude Lanzmann’s ‘Shoah’ is a memorable film. Not because of what it says. But because of its refusal to say anything at all. The theme of Shoah is the Holocaust, in which over six million Jews were murdered by National Socialist Germany. But to state the theme in this way is to already go beyond the film. Shoah can be classed as a documentary, in that it features interviews about events to which the interviewees were eyewitnesses. But it does not document anything, or try to explain anything. If there is a message, it must be worked out by the viewer, in subjective imagination. Which puts the question to me.