There are those who think it’s time for a moratorium on Holocaust movies, and there are those who stand by the belief that there won’t be enough until there’s been 6 million produced and released. As of 2003, we were up to at least 442 titles, according to Annette Insdorf’s book Indelible Shadows. And due to last year’s boom of Holocaust-related features, it seems as though Insdorf could easily add another 100 more to the list in her next edition.
But there’s no need to put an end to Holocaust films, anymore than there’s a need to cease making any genre of movie. A good film is a good film, no matter if it’s set in a concentration camp, features Nazis or merely alludes to the Shoah. And a bad movie is a bad movie, an exploitative movie is an exploitative movie and Oscar bait is Oscar bait. Beginning this Tuesday, when The Boy in the Striped Pajamas arrives on DVD, those hungering for more Holocaust movies will get another shot at seeing 2008’s contributions to the genre, but they’ll also start to see why critics were getting tired of these films. It wasn’t the subject matter, though, and it wasn’t necessarily the quantity so much as it was the quality. These days, Holocaust films are more dependent on clichés and are adversely affected by trends than ever before, even when they appear to be intent on breaking with conventions. Here is an excellent bit from a Mr.Cranky review of Defiance:
Here’s the thing: the more bad Holocaust films you make, the more Holocaust clichés you employ, the more the Holocaust itself becomes a cliché. The first few Holocaust films had a message and were probably intended to be meaningful. The last hundred were commercial vehicles designed to play on audience sympathies and line the producers’ pockets with money. Ultimately, Hollywood has done what every Jew on the planet pleas desperately to never happen: made the Holocaust meaningless on a pop culture scale.
As soon as filmmakers can completely abandon all ten of the following problems with the Holocaust genre, the better off we’ll be in getting to those 6 million titles without further protest.
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Stefan Ruzowitzky won the Best Foreign Film Oscar for his movie The Counterfeiters, a WWII narrative based on true events around an enormous Nazi counterfeiting scheme. It’s been quite common to see movies based on the holocaust taking home Oscars (Nazis are a modern archetype making for great good versus evil showdowns). But what you don’t often see is an Austrian filmmaker making a movie for an apparently large audience that still refuses to believe Nazis were the BAD GUYS.
I revived an interview I did in Telluride with Ruzowitzky an hour before he premiered The Counterfeiters. He talks about why he made the movie and his desire to beat up old people after the jump…
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Wow. AMPAS released their shortlist of nine finalists for the Best Foreign Language Film Oscar nomination today, and it’s missing a LOT of familiar titles. Like Cannes winner and presumed front runner 4 Months, 3 Weeks and 2 Days. Like festival favorites Edge of Heaven and Persepolis. Like the great Silent Light, which Tartan has still not set a US release date for, and probably won’t now that their hopes for free publicity have been dashed.
Not to take anything away from the finalists (and though I haven’t seen any of them, I’ve certainly heard many good things about some of them, especially The Counterfeiters and Days of Darkness), but I’m sure we can expect to see much grousing about this from fans of the snubbed films, particularly 4 Months. But you have to hand the prognostication prize to Cinemascope, who predicted way back in early December that “the Romanian abortion movie” wouldn’t make the final five “because the style of the movie-making is all but indigestible to American viewers.” Of course, the same post predicted Persepolis as the race’s frontrunner. Win some, lose some, etc.
The films that did make the cut are listed after the jump.
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I interviewed Stefan Ruzowitzky about his new film The Counterfeiters. It’s a movie about the massive Nazi counterfeiting operation during WWII. He made because some people “need a punch in the face.”
Stefan Ruzowitzky interview
Stefan Ruzowitzky The Counterfeiters
Ruzowitzky's The Counterfeiters [6:07m]:
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