It wasn’t until Monday before I realized what they had in common. Both centered on a very old person.
Brunhilde Pomsel, 103 when she was interviewed for this film, worked as a secretary and stenographer for Joseph Goebbels during World War II. She did not believe in Nazi ideology, but she joined the party in 1933 because it seemed good for her career. At that time, her best friend was Jewish. After the war, she spent five years in a Soviet prison.
Clearly, she carries a lot of guilt. But she also carries a lot of denial.
The film’s four directors shot these interviews in black and white extreme close-up, against a black background. The audience is not allowed to see anything except her wrinkled face. We never hear the voices of the people interviewing her.
The documentary doesn’t always show her face. It often cuts to clips and outtakes from American, German, and Soviet propaganda films–including some of the most horrifying Holocaust footage I’ve ever seen.
I found the film troubling and frightening. With its story of a people giving up their freedom and basic humanity for a demigod, I couldn’t get thoughts of Donald Trump out of my mind.
I give it an A-.
After the film, two of the four directors came on stage for Q&A. Some highlights, paraphrased from my notes:
- When you made the film, did you know how timely it would be? (This question got huge applause.) Europe is shifting to the right, and it’s happening here as well.
- Because of her age, we never knew how long we could interview her.
- Was she truthful? Yes. She stuck to her own experiences. For instance, she didn’t tell us how Goebel’s children died (they were poisoned by their mother), she told us how she found out about it.
- Is she still alive, and has she seen the film? She’s still alive at 105. She saw the film. She found it interesting to “look at your life and see all the things you did wrong.”
- During the interview, she went through her whole life, and it triggered something every day. We repeated a lot of questions over and over. In the end she gave completely different answers. There was a process in her.
- It’s not so much about her personal guilt, but about human nature.
- Do you think she’s a criminal? She’s guilty, yes, of course.
A German Life will play one more time in the Festival, at Oakland’s Piedmont Theatre, Sunday, August 7, at 2:15.
Every year, the Jewish Film Festival hands out an award to someone who has fought for our First Amendment rights. This year, the Freedom of Speech Award went to television producer Norman Lear.
Lear isn’t quite as old as Brunhilde Pomsel, but he’s turning 94 this week, and is still working. He’s recently completed his memoirs, and is working on a new TV show for Netflix.
Before bringing Lear up on stage for an interview, we were treated to a screening of the new documentary, Norman Lear: Just Another Version of You. The film is on the Festival’s Hold Review List, which means for the time being, I have to keep my review short. Here it goes:
In the 1970s, Norman Lear changed the face of television with controversial sitcoms like All in the Family and The Jeffersons, then became a full-time political activist creating the organization People for the American Way. Directors Heidi Ewing and Rachel Grady have created a warm, sympathetic, and funny documentary about Lear. Of course it’s funny; comedy is his lifelong trade. But parts of the story felt incomplete, such as a happy marriage hits trouble and then…he was married to someone else.
I give it a B+.
After the film, Lear and former SFJFF Executive Director Peter Stein came on stage for an interview. Some paraphrased highlights:
- What is it like to watch a form of you in this documentary? All my life I’ve been an audience member. I sit down to what I’m watching and say “Take me. I’m yours.”
- I think of Donald Trump as the middle finger of America’s right hand. What I mean is that the man is the fool he is, the asshole he is, and I believe that the American people understand this.
This was followed by an audience Q&A. Unfortunately, as soon as Lear answered an audience question, Stein would ask another, related question, eating up time that should have been used for more audience participation.
- How did you get Sammy Davis Jr. on All in the Family? I met him when I worked with Dean Martin and Jerry Lewis. He begged to be on the show.
- How you get your sense of comedy? If your father goes to jail when you’re nine years of age, and a guy is buying your father’s favorite chair, and the guy says “Well Norman, you’re the man of the house now,” you understand the foolishness of the human condition.
- Shooting sitcoms in front of a live audience? I love performing with a live audience. If the audience didn’t laugh, that was it. We didn’t use a laugh track.
- I created Archie Bunker on paper, but I never saw the real Archie Bunker until I saw Carroll O’Connor. Nobody could write the Archie-isms like he could speak them.
- On Jean Stapleton: She was always where she was. We’d ask What would Jesus do. That’s how we wrote Edith.
For some strange reason, the Festival had placed a painting on a stand on the stage. Near the end of the Q&A, it collapsed. Lear proclaimed “Now that’s funny!” He got a big laugh on that one.
Norman Lear: Just Another Version of You will screen one more time in the Festival, at the Rafael, Sunday, August 7, at 2:10. But it will screen three more times at the Rafael that week–not connected with the Festival. PBS will eventually broadcast it as part of the American Masters series.