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Claude Lanzmann is 92 years old and there is no one in France who can replace him in the role of Kulturmannen number one. His body, his soul and his suffering summed up the French culture of occupation to today. Just read his biography The Patagonian hare for sure.
Lanzmann participated as a teenager in the resistance movement, reading German philosophy (Jean Hyppolite's famous book Hegel "Be My Holy Grail", he stole it from the bookstore), he worked with Jean-Paul Sartre and Simone de Beauvoir in the magazine Modern Times becomes the lover of the end, encounters tragedies in his family, excellent swimmer, skier skillful, ruthless mountaineer, traveler to China and North Korea, best friend of Israel and of course first ever female lover
READ MORE: We will build a society – not a "debate" with the Nazis [19659002] But above all, he was a monumental documentary filmmaker and among all his films appears Shoah as an immovable masterpiece. It's a nine-hour film about the Holocaust (Shoah in Hebrew). There's nothing here about fictional engineering – like a plastic story, American storytelling. The hated Lanzmann (and he received an outstanding successor in the young quartet Lukas Pribyl Forgotten Transports ).
What happened could only be told by the witnesses so that Shoah would be a "testimony" about the cinema where Lanzmann and his team traveled, searched, visited and talked with the survivors. Hour after hour, a huge building of human memories is built, often in desolate and empty landscapes (compare this to the SVT fact sheet). Then we meet places, people and voices.
One of the most memorable is the conversation with Abraham Bomba who was the hairdresser in Treblinka – they met in Tel Aviv. Bomba cut the hair of Jews who did not know that they would be gassed and crushed a few minutes later. He meets them darling. He could not talk about it – until he had to cut Lanzmann's hair off the barber's chair. Then the words came to him
In particular, I also remember a Jewish man who survived the massacre of Jews in a Polish city. He then returns with Lanzmann and finds himself in a scene in a small flock of Polish women who play chess like geese – we were just … we had … The man is calm in the middle and just laughs at the camera. Nothing has changed. "It's not a film about Shoah without a movie that's a Shoah."
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