Eichmann, Assassino Número 1

B picture studio Allied Artists without use of any big names turned out a fine documentary style film detailing the capture of Adolph Eichmann played here by Werner Klemperer. In fact with John Banner playing Rudolf Hess it takes a bit of getting used to see these Hogan's Heroes regulars playing it serious.

One thing I do have to say. Rudolf Hess who lived to the ripe old age of 94 and was the only prisoner in Spandau prison left of top Nazis when he did pass on did not look anything like John Banner. Knowing that it was a bit disconcerting for me to see him in that role.

Hess was a public face of Nazism. Eichmann who was high up in the SS command was the author of the detailed plans for the annihilation of the Jewish people. He was not a public face and this was part of the reason he avoided capture for 15 years.

I do remember news of his capture when I was a kid. Argentina made all kinds of official diplomatic protests to no avail. Israel wanted, went in and got him and the hell with diplomacy.

In the film part of the reason is Jimmy Baird who grows up to be Donald Buka remembers the man who ordered his family killed. Buka is part of Mossad when he grows up and he makes Eichmann his special project.

Klemperer is the show and the year before he played a most convincing Nazi on trial in Judgment At Nuremberg. See that and see Operation Eichmann and you'll know he was capable of a lot more than Colonel Wilhem Klink.

Werner Klemperer plays Adolf Eichman in an Allied Artists production covering his implementation of the "Final Solution", his escape from Allied forces, through his capture by Israeli in Argentina.

Werner Klemperer gives a fine performance in the title role. Someone like me, used to his comic performance in HOGAN'S HEROES -- John Banner, who played "Sergeant Schultz" in that show, plays Rudof Hess -- will be surprised at his performance: fanatic, intelligent, assured of his position and approaching each problem, whether it's how to kill more Jews or how to get to safety, as an intellectual puzzle to be solved: in a word, chilling. It's a portrait of a real-life villain that at first seems too stereotyped to be interesting. Yet Klemperer plays the role with such intelligence that he is fascinating in his portrayal.

Director R.G Springsteen spent most of his career as a solid director of B Westerns. Given a solid cast and a tough subject, he handles the subject well. He is brilliantly aided by the camera of Joseph Biroc, who lights the scenes set in Nazi Germany with a flat, low light that reduces everything to grey. There are no whites or black in Germany, just a greyness that reduces all morality to nullity. Only the later sequences show any light. Yet every scene is shot with a clarity that becomes frightening.

It's a tough movie to watch for an American Jew who grew up in the Post-War era, in a millieu of older relatives and and their friends who had blue numbers tattooed on their arms. It must have been a tough movie to convince the producers to make and to cast; Joseph Schildkraut reportedly turned down $300,000 to take the lead. It's clearly a movie that everyone involved thought had to be made, and made as well as they could.

They succeeded. I don't need to see it again.

What makes this movie so frightening without spectacular, graphic violence or overly righteous hand wringing is demonstrating that the architects of even the most extreme forms of evil can be quite human and even likable. They may honestly view their workaday world of mass murder as simply a day at the office. The film "The Wansee Conference" makes the point even more effectively but isn't nearly as artful, since it is a straight, documentary style re-enactment of a specific event.

The only thing that hurts the movie is the pairing of "Klink" (Werner Klemperer) as Eichmann and "Schultz" (John Banner) as his chief lieutenant, Hess (no relation to Rudolph Hesse). Of course, this was an unknown dynamic when the film was made since it predates Hogan's Heroes by 2 or 3 years. The actors are actually perfectly matched for their roles and play them well, but their popular identification as the "funny" Nazis of Hogan's Heroes gives the film an unintentional comic slant at times. In fact, there is a scene where Eichmann is having dinner with Hess and his wife and kids. A seemingly normal family scene with dad and his boss discussing business----in this case, how efficient Zyklon B gas is for human extermination. The Hess character replies, (I kid you not) in his best Sgt Schultz voice and manner, that "the best thing about it is that you hear NOTHING you see NOTHING..." As an interesting aside, Werner Klemperer, John Banner, and Hogan's Heroes General Burkhalter (Leon Askin, who is not in this movie) were all Jewish refugees from Nazism who fled their homes in Germany and Austria. Also of note is the fact that "Klink" served in the U. S. Army in WWII; ironically, in the Pacific. Askin and Banner both served in the US Army Air Corps. The former, though only a sergeant, had a plum job teaching European etiquette and social practices to U. S. military officers. "Schultz" was a supply sergeant.

This low budget film effectively communicates the fact that the most fiendish enterprise can readily disguise itself as business as usual.

This little known movie deserves to be seen by a wider audience. Werner Klemperer chills the viewer to the bone with his absolutely convincing performance as the architect of the Final Solution.

Made on a low budget, the movie manages to look and feel very authentic in its recreation of the Third Reich, particularly the dreadful sequence at Auschwitz. The fear that that part of the movie made me feel was palpable. Though fairly restrained for its time, the death camp sequence was the stuff of nightmares.

The film is less successful during the last two parts of the story, but Klemperer never lets up in his complete immersion in his role. Highly recommended.

1961's "Operation Eichmann" served as an Allied Artists quickie to cash in on the upcoming trial of Adolf Eichmann (beating Stanley Kramer's big budget "Judgment at Nuremberg" to theaters by 9 months), who was the man in charge of the 'Jewish problem' that eventually led to over 6 million Jews being exterminated at Auschwitz, captured in Argentina in May 1960 (Dr. Josef Mengele was also targeted but proved more elusive). Perhaps his still being fairly unknown accounted for the screenplay's lack of real factual information, the first half most effective in showing Eichmann's ruthless efficiency in conducting mass murder while also punishing prisoners and bribed officials who cause dissention in the ranks. The second half falls down in its lackluster pursuit of the exiled Nazi on the run, moving from Germany to Madrid, Kuwait, and finally Argentina, his own comrades only too eager to be rid of him one way or another. The narrator is a former Auschwitz prisoner who remains a distant outline to the audience, never a fleshed out character they can identify with, unable to compete with Werner Klemperer's dynamic Eichmann, a fully committed performance that produces the surely unintended, lopsided effect of rooting for a brilliant tactician who eluded capture for 15 years (convicted and hanged for his crimes in June 1962). Joining Klemperer in the Nazi ranks is John Banner, both future veterans of HOGAN'S HEROES, a comic depiction of the war that could only have been possible during a decade climaxed by Mel Brooks and his "Springtime for Hitler" number in 1968's "The Producers." The director was outdoor action specialist R.G. Springsteen, whose only qualification for this touchy subject had to be shooting fast on the cheapest sets to strike while the iron was hot. Making his film debut in the unbilled part of Klaus is Eric Braeden, whose best known movie roles in "Colossus: The Forbin Project" and "Escape from the Planet of the Apes" preceded his longtime tenure on THE YOUNG AND THE RESTLESS, which commenced in 1980.