New Meetup: A FILM UNFINISHED@The Royal Theatre 7:30 PM

From: Philip
Sent on: Saturday, August 21, 2010 3:34 AM
Announcing a new Meetup for Los Angeles Film Enthusiasts!

What: A FILM UNFINISHED@The Royal Theatre 7:30 PM

When: Wednesday, August 25,[masked]:30 PM

Where: Laemmle's Royal Theatre
11523 Santa Monica Blvd
Los Angeles, CA 90025
[masked]

This film is absolutely fascinating. The filmmaker uses a Nazi propaganda film to show how Jews were manipulated into acting as if they were having a nice time in the Warsaw Ghetto while stepping over dead of dying Jews in the streets. Here are a few reviews. 90 per cent rating on Rotten Tomatoes

In the early years of World War II, before the unholy machinery of extermination was fully engaged, the Nazis massed nearly a half-million Jews into the Warsaw Ghetto's three square miles, which is memorably described in Yael Hersonski's piercing documentary, A Film Unfinished, as "the holding pen before the Final Solution."

What sets Hersonski's film apart from many other films on the Holocaust is its study of the Nazis themselves, a subject more commonly explored by academics, while filmmakers opted to focus on this great historical crime's victims and survivors. Hersonski found that the insanity of the Nazis was so pronounced that in May 1942, a team began shooting in this dank and overcrowded suburb of hell for an ultimately unfinished propaganda film to be titled The Ghetto. The hour or so of footage that remained was later studied as primary source material of daily life in the ghetto itself. Hersonski's documentary combines selective sections from this film (including a recently-discovered reel that showed more of what the Nazis were really up to) with some entries from a diary kept by a leader of the ghetto's Jewish council during the filming to create a portrait of the staging of a manufactured reality.

The Nazi obsession with both the documenting of their work and the cinematic projections of their ideals made something like The Ghetto nearly inevitable. No explanation was ever found for why the film remained incomplete, but what there is of it makes one glad that was the case. The filmmakers' marching orders seemed to be to show how supposedly the more affluent Jews in the ghetto lived in bourgeois luxury while their more unfortunate brethren starved in the gutter. What makes the footage especially perverse is that the scenes of well-dressed women striding imperiously down the crowded sidewalks appear to have been staged, while the ragged poor they ignored were perfectly true to life. Starvation was everywhere in the ghetto even before its inhabitants were shipped off to the camps, its brutal effects already visible in the people's sharply-etched features and empty eyes.

Amidst all this desperate, gnawing hunger, the SS soldiers strode about, pushing the ghetto's inhabitants into line for one faked scene after another, whether a funeral procession or a dinner party of fantastical decadence. Whether or not the irony of what they were doing -- faking reality in order to justify their genocidal plans -- ever entered their minds is one of the inevitable gaps in Hersonski's film. This is a chilling, sober film constructed from scraps and outrage and unanswered questions. What is known is that some three months after the Nazis finished shooting, most of those people they filmed walking the ghetto's streets would be dead.
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Can you believe your own eyes? Not since computer-generated images made it all but impossible to distinguish between real images and ones that were digitally created.

But, as Yael Hersonski?s documentary, ?A Film Unfinished,? shows, even in documentary film, seeing wasn?t always believing ? and the Nazis knew this.

?A Film Unfinished,? opening Wednesday in limited release, is a chilling example of the Big Lie that Josef Goebbels propagated during the Third Reich. Tell it loudly enough and often enough and you?ll convince people that it must be true. (Hello, birthers?)

In this case, it was a container of film that had been hidden away in a trove of Nazi documentary footage that was discovered after World War II. With the words ?The Ghetto? written on the canister, it was a mysterious artifact: seemingly a documentary showing that Jews in the Warsaw Ghetto were actually treated well by the Nazis.

The footage showed both wealthy Jews enjoying the amenities of a comfortable city life ? and the same Jews turning a blind eye to their less fortunate brethren, who begged on the streets and died there of hunger. The well-heeled seem to dine out and attend the theater and synagogue with impunity, stepping over the dead bodies on the street as if they were an inconvenient form of litter. And, for years, it was treated as just that: an actual documentary.

So Hersonski studied the footage more closely, discovering clues that it may actually have been staged: German soldiers acting as crowd control or enforcers, in the margins of the frame; momentary images of the camera crew itself directing the action. Further research unearthed the journal of one of the Jewish officials in charge of the ghetto, chronicling his disgust at dealing with the Nazi film crew, which was forcing the Jewish captives to stage scenes in synagogues and elsewhere.

?A Film Unfinished? examines all of this, then offers interviews with witnesses ? survivors of both the ghetto and the concentration camps, who watch the footage and talk about the people they recognize, offering memories of the filming itself and the conditions it depicts. They can barely bring themselves to watch footage of workers burying the increasing number of dead (from starvation and disease, principally typhus) in mass graves.

The capper is a deposition given by the cameraman for the footage some years ago. Recreated as an interview with actors reading the transcript in stylized scenes, it features the cameraman describing himself as merely an observer, taking pictures. Gradually, however, the questions bring out the facts of how much was staged, as opposed to documented.

The cameraman claims to have no idea what the footage was being shot for, though hindsight makes it obvious that it was meant to be propaganda. By showing just how comfortable the Jews were, the Nazis hoped to stave off worldwide concern ignited by rumors about the death camps and the wholesale slaughter of Jews, gypsies and others.

As Hersonski shows, the ?Ghetto? footage ultimately was misunderstood by the people who discovered it. For years, it was presented as actual documentary evidence of what life was like in the Warsaw Ghetto, proof that the Jews didn?t have it so bad. ?A Film Unfinished? takes the whitewash off this propaganda, refuting it on an almost scene-by-scene basis.

Watching this film is like seeing a strong detective story, with the sleuth pointing out the clues along the way and offering witnesses to tell the real tale that the footage depicts. It?s also immensely sad ? not just the images of dead bodies lying in the streets or being stacked like logs in a trench, but the fact that the same fate awaits virtually everyone you see in the film.

The exception, of course, are the lucky few who escaped to bear witness ? to this film and to the unthinkable horror of the Holocaust itself.

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