Hannah Arendt

Hannah Arendt (2012)

Few movies based on historical figures manage to combine a good sense of character with a first-rate story. Hannah Arendt is an exception. It is directed by Margarethe von Trotta, who had focused on such diverse (and strong) women of history as the nun and mystic Hildegard von Bingen and the leftist revolutionary Rosa Luxemburg. Her latest film is the story of one key episode in the life of Hannah Arendt, the German-American philosopher and political theorist. But Hannah Arendt transcends the bounds of "feminist" filmmaking. It is a work that puts before the viewer key questions about the nature of evil, about acceptance of authority, and about personal responsibility. At the same time it is a fine piece of storytelling.

Arendt was a German Jew who had studied under the noted philosopher Martin Heidegger, and who had a romantic relationship with him that soured when the Nazis came to power and Heidegger publicly supported them. She soon left Germany for France but in 1940 was imprisoned by the Vichy regime in the detention camp in Gurs. Escaping after a few weeks imprisonment, she fled with her husband to the U.S. Throughout and after the war she was active in Jewish causes, including the Zionist movement. In the 1950s she began a career of writing and teaching, which included appointments at such universities as Princeton, Yale and the University of Chicago. She became noted for two popular books, The Origins of Totalitarianism and The Human Condition.

The film deals with one short period in her life, Arendt's reporting on the 1961 Adolf Eichmann trial in Jerusalem for the New Yorker magazine, coverage she later turned into a book. In here account she spoke of "the banality of evil," evil done without thinking, because people were "following orders." Arendt's suggestion was that Eichmann was evil not so much because he was a monster, but because he was a mindless bureaucrat. Although she did not disagree with the guilty verdict or Eichmann's hanging, she was critical of the conduct of the trial. Even more controversial was her submission that some Jewish leaders contributed to the magnitude of the Holocaust by their complicity with the authorities. While she recognized the futility of open rebellion, she suggested that less cooperation would at least have saved more lives. Such suggestions, especially coming from a prominent Jew, provoked a firestorm of criticism, and threatened both Arendt's career and lifelong friendships. The movie becomes not just about a single life, but about freedom of expression - the sometimes harsh clash between ideas and fixed opinions - and the great personal costs this can involve.

Still, a movie that focuses so much on one individual requires a superb piece of acting. Director von Trotta gets this from Barbara Sukowa, who played both Hildegard and Rosa Luxemburg in her earlier films. Sukowa brings to the screen not only a supremely intelligent woman, but a very principled and determined one. At the same time she portrays a woman who can be tender and compassionate, and understanding even of her detractors. To blend such widely divergent qualities is no easy task, but Sukowa succeeds in anchoring them securely in the character she plays. Axel Milberg as Heinrich Blücher, Arendt's husband, more reserved, but supportive and protective, is equally credible. Another solid performance comes from Janet McTeer as the political activist, author, and Hannah's steadfast friend, Mary McCarthy. Included also among her inner circle was her secretary, Lotte, played very sympathetically and competently by Julia Jentsch. Two longtime Jewish friends, one in New York, Hans Jonas, and another in Jerusalem (also her former teacher), Kurt Blumenfeld, are very well represented by Ulrich Noethen and Michael Degen. And a very unrepentant and unapologetic Martin Heidegger is played by Klaus Pohl.

In addition to good acting a film that deals with the realm of ideas also requires a finely tuned screenplay and talented direction so that it does not just show pictures of "talking heads." Director von Trotta cooperated with Pam Katz on the script, and what they produced is obviously a labor of love. The situation of ideas against the background of such horrific concrete acts as genocide, and in particular against the showpiece trial of Eichmann, brings them into contact with the very real world. That reality is heightened by the decision not to dramatize Eichmann himself, but to show the genuine article as he appears in the TV footage of the trial. There is such genuine horror there, and yet such obvious banality, as to give Arendt's musings real weight.

In the end the film obliges the viewer to confront the questions Arendt is trying to raise. Are the roots of evil obvious or can they be far more subtle? Where does responsibility begin, and who in a society must take responsibility for the acts of the whole body? The film does not preach, but it certainly raises vital questions. A real gem! Hannah Arendt premiered at the Toronto International Film Festival on September 11, 2012. The movie will go into general release on January 17, 2013.

Other reviewers have questioned the historical accuracy of Margarethe von Trotta's portrayal of Hannah Arendt (Barbara Sukowa) and her opinion of the Jewish leaders as expressed in her NEW YORKER articles on the trial of Adolf Eichmann in 1961.

As a piece of film-making, however, HANNAH ARENDT grabs the attention and does not let go throughout its 113-minute running- time. As portrayed by Sukowa, Arendt comes across as a forthright person, not frightened of expressing her opinions and responding to any intellectual challenges from close friends such as Kurt Blumenfeld (Michael Degen). Yet beneath that tough surface lurks a profoundly disillusioned person, as she discovers to her cost that her great teacher and mentor Martin Heidegger (Klaus Pohl) does not practice what he preaches. Although insistent on reinforcing the distinction between "reason" and "passion," Heidegger takes the "passionate" decision to associate himself with the Nazi party, and thereby embraces their totalitarian values. Like Eichmnann himself, he chooses not to "think" but to commit himself to an ideology that actively discourages individual thought.

The sense of shock and disillusion Arendt experiences inevitably colors her view of the Eichmann trial. Director von Trotta includes several close-ups of her sitting in the press-room listening to the testimony of Eichmann, his accusers and the witnesses, a quizzical expression on her face, as if she cannot quite make sense of what she hears. She cannot condemn Eichmann, because he has simply followed Heidegger's course of action.

Once the articles have been published, Arendt experiences an almost unprecedented campaign of vilification. Although she is given a climactic scene where she defends herself in front of her students (and her accusers within the university faculty), we get the sense that she is only doing so on the basis of abstractions; her personal feelings are somehow disengaged. She is far more affected when her one-time close friend Hans Jonas (Ulrich Noethen) vows never to talk to her again on account of her views. Philosophers might be able to make sense of the world, but they often neglect human relations.

Consequently our view of Arendt, as portrayed in this film, is profoundly ambivalent. While empathizing with her views about the banality of evil, which reduces people to automata as they claim they were only carrying out orders, even while being involved in atrocities, Arendt herself comes across as rather myopic, so preoccupied with her ideas that she has little or no clue about how they might affect those closest to her. It's a wonder, therefore, that Mary McCarthy (Janet McTeer) chooses to stick with her through the worst of circumstances.

Ingeniously combining archive footage of the Eichmann trial with color re-enactments of what happened during that period, HANNAH ARENDT is a thought-provoking piece, even if we find it difficult to identify with the central character.

Margarethe von Trotta's Hannah Arendt is a film about thinking. Moreover, it's in favour of it. It so values thinking that it offers some elegant speeches and debate, sans computer generated spectaculars.

Barbara Sukowa portrays the German Jewish philosopher during the period she covered the Adolf Eichmann trial in Israel for The New Yorker. The film confronts the controversy Arendt raised when (i) she redefined Eichmann not as a monster but as an ordinary nobody, exemplifying "the banality of evil," (ii) she reported that some Jews collaborated with the Nazis, resulting in more deaths than chaos would have caused, and (iii) she said she loves her friends but not any "people," in this case, the Jews. On all three counts she was condemned for abandoning her people. Today, at a remove from the heat of that moment, she was clearly correct on all counts. For more see www.yacowar.blogspot.com.

Not loving the Jews was not being anti-Semitic but refusing to emotionalize her consideration of the issues. Arendt was opposed to the blanket love of any group of people, not based on personal engagement, because such nationalist or other group identification precluded the thoughtful consideration of any issues around them. She most valued a rational, thoughtful approach that was not prejudged or proscribed by any -ism or convention. As for some Jews' collaboration, she simply reported facts that arose at the trial. (Indeed, Rudolf van den Berg's new film Suskind details precisely that collaboration.) Nor was that observation anti-Semitic, for the possibly well-intentioned collaboration in the face of horrid danger is a plausible response among any people. Arendt was pilloried for facing the facts and for rejecting myths. That's what historians are required to do and apparently what philosophers periodically have to remind them to do.

The film "Hannah Arendt" depicts an intriguing and contradictory intellectual but avoids examining the political core of the famous controversy it recounts. Arendt stirred a furor with her 1963 writings on the Israeli government's trial in Jerusalem of the Nazi Adolf Eichmann. She characterized Eichmann, who had organized the transport of European Jews to the death camps, as a banal bureaucrat rather than a singular monster. She wrote that European Jewish leaders, too, were responsible, by administering submission to the Nazis when even futile resistance and chaos might have allowed more Jews to survive. The public attacks on Arendt are shown. She was pilloried, particularly by Jewish intellectuals, as an unfeeling Nazi sympathizer and self-hating Jew. The New School's move to fire her is also enacted.

But the film, which shows Arendt as shocked to learn that she has hurt the feelings of many Jews, including long-time friends, does not reveal that she had broken with the Zionist leaders in 1942 when they called for a Jewish state rather than the bi-national Palestine she supported. The Zionists opposed measures to rescue Jews from the Nazis other than those that herded them to Palestine. They claimed, however, that their takeover of Palestine was all about saving Jews from a unique evil -- a claim unchallenged by most liberals as well as the Stalinist left. Arendt's analysis hit the Zionists' guilty conscience and undermined the rationale for their nationalist project. The film ignores these crucial political elements, and presents Arendt's strong defender and friend only as novelist "Mary" without disclosing that Mary McCarthy was an anti-Stalinist and anti-Zionist who called Zionism the "Jewish final solution."

Director Margarethe von Trotta's failure to explore this relevant history leaves her film interesting but superficial when it could have been brave and timely. Arendt's famous topic, thoughtless compliance with evildoers in power, needs our attention today more than ever. Fifty years after the "Banality of Evil" controversy, U.S. liberals and progressives are blindly uncritical of a leader who spies on millions and remotely executes foreigners and citizens in the name of national security. A militarily mighty Zionist state is still free to massacre innocents, shielded by this unquestioned U.S. power and the old sacred cow that Israel is the only safe haven for Jews. Arendt might have had some juicy comments about the "banality of filmmaking."

Rita Freed

This is a fascinating look at Hanna Arendt, a German-American philosopher who in 1961 reported on the trial of Adolf Eichmann for the New Yorker. A huge controversy erupted.

Arendt left Germany in 1933 for France, but when Germany invaded France, she found herself in a detention camp. When the film begins, she is a happily married woman with friends such as the writer Mary McCarthy, and she is a professor at, among other places, the New School in New York City.

Hanna is very excited about covering the trial, but her husband, Heinrich, is afraid it will take her back to those dark days.

While observing Eichmann, Arendt is struck by the fact that he was an ordinary man with nothing special about him. This causes her to think about the nature of evil itself.

She decides that he's not a monster but a person who suppressed his conscience in order to be obedient to the Nazis. She thus created the concept of the "banality of evil."

She believed also that some Jewish leaders at the time had fallen into this trap and unwittingly participated in the Holocaust. Her critics failed to understand her meaning.

In some camps, her New Yorker articles were not well received, as she was seen as a heartless turncoat who blamed the victims. Hanna has to defend her ideas, and the price she pays for them is high.

Barbara Sukowa does a magnificent job as Arendt, showing the woman's brilliance, courage, affection for friends and family, and hurt when some people she loved turned against her.

It's surprising that she was met with as much disdain as she was -- but Arendt did not believe in blind adoration of any group. She took people on an individual basis.

As far as the banality of evil, evil has always had the ordinary face of people sitting back and doing what they're told. Or, as Martin Luther King said, doing nothing.

I'm sure many of us have experienced this in the workplace -- I know I did. It's then that you realize the true nature of most people. Everyone can say they have ethics - but do they have ethnics when they stand to lose something?

Beautifully directed by Margarethe von Trotta, who also co-wrote the screenplay. A difficult subject made clear, a complicated woman understandable -- no small feat. A thought-provoking film.