Quote of the Day (The German High Command, With a Fateful Step Toward the Holocaust, in ‘Night and Fog’)

“Within the occupied territories, communistic elements and other circles hostile to Germany have increased their efforts against the German State and the occupying powers since the Russian campaign started. The amount and the danger of these machinations oblige us to take severe measures as a determent.”— The “Night and Fog” (Nacht und Nebel) Decree, December 7, 1941

For anyone who desires to put December 7, 1941 in a worldwide context, the indispensable place to start is with Stanley Weintraub’s Long Day’s Journey Into War. It shows how the events of that “day which will live in infamy” were experienced not only in Pearl Harbor but in such other diverse places as Washington, D.C., Manila, Moscow, Tokyo, Tobruk, Singapore, London, and Berlin.

It was in the last of these that some of the most chilling moments of that day were experienced, as Adolf Hitler first broke out the champagne to celebrate the attack on the American naval base in Oahu by Axis partner Japan, then took one ominous step closer to the Final Solution with the “Night and Fog” decree.

At first, this key document of the Third Reich sounds like a defensive measure— they’re just trying to defend themselves against those “communistic elements.” But by the time we get to “severe measures,” we realize that the bureaucratese stands for something far more sinister.

The decree (Nacht und Nebel, in German) came from the hierarchy of the Third Reich itself--issued by Adolf Hitler and signed by Field Marshall Wilhelm Keitel, Chief of the German Armed Forces High Command. It called for individuals found to be undermining the security of German troops to be transported to Germany for trial by special courts, thus undermining international conventions governing the treatment of prisoners. Instead of resistance members simply being kidnapped, they would disappear without a trace, in the “night and fog.”

Keitel spelled out the inevitable corollary of this policy in the following passage from a letter he released: “Efficient and enduring intimidation can only be achieved either by capital punishment or by measures by which the relatives of the criminals do not know the fate of the criminal. The prisoners are, in future, to be transported to Germany secretly, and further treatment of the offenders will take place here; these measures will have a deterrent effect because: A. The prisoners will vanish without a trace. B. No information may be given as to their whereabouts or their fate."

　
　

One especially obscene element of this was the measure’s code name. “Night and Fog” had been coined by the titan of German literature, Johann Wolfgang von Goethe. Its use here reinforces the essential puzzle people have struggled to understand since the 1930s: how a nation of culture— of Goethe, Mann, Beethoven, Haydn, Brahms, Kant, and countless other figures— could have orchestrated this descent into terror.

If Hitler was determined to undermine culture through his appropriation of the term, a French filmmaker evoked the title to use culture as an act of remembrance. Alain Resnais’ short 1955 documentary, Night and Fog, was made only 10 years after the war’s end— at least a couple of decades before literature, film and television began to explore the Holocaust in depth.

Yet, when this film was shown in a high school religion class of mine some 35 years ago, its stark, black-and-white images left all of us silent and shaken— and many of us sobbing— at its conclusion.

Photo of the Day: Site of 1,000 Dreams

Today, Radio City Music Hall is catty-corner from my office, and when I saw several Rockettes outside the legendary entertainment emporium a couple of years ago, they seemed of ordinary size, and less than half my age.

Nearly 40 years ago, however, when I came to the New York City landmark on a class trip, it was entirely different. We were there to catch the movie musical “Tom Sawyer,” starring Family Affair’s Johnny Whitaker in the title role and, as Becky Thatcher, an unknown girl named Jodie Foster.

But I was dazzled by the Art-Deco detail everywhere I looked, and onstage the Rockettes seemed, to a still-pre-adolescent boy, impossibly mature, flamingoes in human form, from another world that consisted of synchronized movement and dazzle.

Obviously, millions have felt something similar, and even more, as testified by the many young women who every year try out for this chorus line and are ready to brave countless hours of bone-weary practice to make their dreams— and awaken those of still more at the annual Christmas show— come true. Not for nothing is this hall one of the iconic black-and-white images in Woody Allen’s famous opening sequence in Manhattan.

Movie Quote of the Day (“The Addams Family,” on Gomez and Morticia’s Wild Night)

Morticia (played by Anjelica Huston): “Gomez.”

Gomez (played by Raul Julia): “Querida?”

Morticia: “Last night you were unhinged. You were like some desperate, howling demon. You frightened me. Do it again!!!!”— The Addams Family (1991), screenplay by Caroline Thompson and Larry Wilson, based on characters created by Charles Addams, directed by Barry Sonnenfeld

Photo of the Day: Tourist Attractions?

I took this photo, of some of the largest holiday ornaments I’ve ever seen, at Rockefeller Center nearly two weeks ago, just before Thanksgiving. The crowds are probably even thicker now, with more gawkers besides myself and the two in this photo…

Quote of the Day (Penn Jillette, on Starbucks)

"For its 40th anniversary, Starbucks has a new drink coming out. It’s sugar-free and fat-free and has no whipped cream. It’s called coffee."—Comic Penn Jillette, quoted in "Laugh!", Reader’s Digest, September 2011

This Day in Film History (Beatty’s “Reds,” Cinema Swan Song to the Left, Opens)

December 4, 1981—Warren Beatty’s Reds, a labor of love four years in the gestation, opened the day after its premiere. A throwback to epic films of the 1960s, this movie about Ten Days That Shook the World author John Reed and wife Louise Bryant also represented a veiled commentary on the New Left that marched for civil rights and against the Vietnam War before losing energy and followers.

Recently, a post by fellow blogger “Real Delia” included Reds among its “Five Political Films Worth Seeing.” I had always thought of it as an historical film, because it is set in the late Progressive Era in the U.S. and the Russian Revolution, when John Reed and fellow radicals pressed for labor rights at home and looked (mistakenly, it turned out) to the Bolsheviks as a harbinger of a better world.

But Delia is right— the film is political, and especially so in its second half, the portion that, to many reviewers, is most problematic. It’s not just that the differences between the Communist Party of America and the Communist Labor Party of America become hard to follow (something that Bryant herself, as audience stand-in, acknowledges in dialogue with Reed), but that the triumphal energy that lifted the first half of the movie begins to ooze out.

But that is the nature of the real-life material that Beatty and co-screenwriter Trevor Griffiths were dealing with, as well as part and parcel of their commentary on the nature of politics. For a longtime liberal activist such as Beatty— so heavily committed to the political process that he turned down The Godfather, The Sting, and The Way We Were so he could stump for George McGovern for President— this represented a brutally frank acknowledgement of the price to be paid in private life for total devotion to a cause. (Even the conservative Ronald Reagan, offered a preview of the film before its opening by Beatty, joked that he wished the movie had a happier ending.)

Because the narrative is a love story set against the backdrop of revolutionary Russia, Reds has been likened to Doctor Zhivago. But it might be more useful to compare it to an earlier David Lean movie, Lawrence of Arabia, another epic that traces a hero’s movement, in the realm of international politics, from revolution to dissolution to disillusion.

And that brings me back to my opening point: the parallels between John Reed’s 1910s and the 1960s are impossible to ignore.

Often, novelists and screenwriters will offer the past as a mirror on the present. For instance, one novelist friend of mine, discussing why he set one of his books in 1860s New York, noted that with its racial and ethnic tensions, that decade had more in common with the 1990s than the latter era had with the 1960s.

Average film fans, particularly baby boomers, would have been highly unlikely to know anything about Reed and Bryant (played by Diane Keaton, at the peak of her career). But they would have found tremendous resemblances between the era of these radicals and the tumultuous age then, with Ronald Reagan ensconced in the White House, assuredly at an end:

* Progressives, led by the likes of Theodore Roosevelt, Woodrow Wilson, and Robert LaFollette, had their counterparts in mainstream liberals in control of the White House 50 years later: John F. Kennedy and Lyndon Johnson.

* In the 1910s, a Democrat (Wilson) led the nation into a foreign war (WWI); in the 1960s, another (LBJ) did the same, with Vietnam.

* In the 1910s, suffragettes pressed for the right to vote; in the 1960s, feminists moved a broader agenda centered around the workplace and privacy issues.

* In the 1910s, the Old Left, epitomized by Reed and his colleagues, saw Russia as the wave of the future; in the 1960s, many on the New Left glimpsed it in Fidel Castro, Chairman Mao, or even both.

* Reed, Bryant and their friends centered around Greenwich Village believed in birth control, free love and an end to other restrictive social relations between men and women; the 1960s witnessed legislation permitting greater access to birth control and abortion, the rise of the gay-rights movement, and an at-times difficult renegotiation (even on the Left) between the sexes over relations at home and in the workplace.

* Louise Bryant and fellow bohemians in Greenwich Village often clashed with male partners over issues of independence and personal autonomy; the same happened in Hollywood and the music community (perhaps most memorably in the songs of Joni Mitchell and Carly Simon, long rumored a past Beatty conquest).

In both eras, the range of the changes envisioned by American radicals was breathtaking and the new world they glimpsed made them giddy. “What a time it was,“ Reed, dying in a substandard Soviet hospital, tells Bryant in the film. But, as the saltiest of Reds’ two dozen “witnesses” (surviving contemporaries of Reed and Bryant, offering commentary on the film’s events), novelist Henry Miller, noted, changing the world is well-nigh impossible: Even Christ was crucified.

In short, the 1960s, as described by singer Judy Collins in her memoir Sweet Judy Blue Eyes, sounds like a ringer for the bohemian culture of Reed and Bryant: “It was a time of tremendous hope and tremendous naivete,” one that also involved “undeniable destructiveness as the war raged and the young trashed their bodies and their lives with the drugs many of us thought were so cool.”


One character in the film notes that Reed’s commitment to Communism has become like a religion. The second half of the movie— depicting a collapse over minor differences into fratricidal “sects”— would have seemed painfully familiar to New Left members recalling how Students for a Democratic Society, the Black Panthers, and other organizations in the 1960s had splintered into self-destructive, even murderous factions. Likewise, the recreational substances used by the two generations--alcohol for the Greenwich Village radicals, drugs for the 1960s New Left--would, in time, exact a heavy toll.

Like Lawrence of Arabia, Reds is so crowded with people and events that, for all their bravura filmmaking, context and complexities become lost. One longs for the kind of program notes included in playbills for Tom Stoppard plays, offering further background on events. In particular, I wish that Reds had included a pre-closing credits epilogue that would have offered the following capsule summaries of some major characters after Reed’s death:

* Eugene O’Neill (played by Jack Nicholson), Bryant’s cynical ex-lover and fellow lapsed Catholic, became the only American playwright ever to win the Nobel Prize for Literature. His last play to premiere on Broadway, The Iceman Cometh, featured a dozen boozy derelicts in a Bowery dive in 1912, including Larry Slade, whose sees his radical days as all a useless “pipe dream.”

* Max Eastman (played by Edward Herrmann), editor of The Masses, became, like anarchist Emma Goldman, convinced that the Russian Revolution bore the seeds of totalitarianism. By the time he died in 1969, he was inveighing against Communism in William Buckley’s National Review.

* Louis Fraina (played by Paul Sorvino), Reed’s friend-turned-enemy, broke with the American Communist Party in 1922, though he remained a Marxist. Teaching at Antioch College in the 1940s under the name “Lewis Corey,” he was once interrupted in class by several Communists with the taunt, “What did you do with the money?”--a reference to $4,200 that the ACP had accused him of embezzling during his time in the party. He died in 1953 under threat of deportation by the U.S. government for his radical past.

* Gregory Zinoviev (played by novelist Jerzy Kosinski), the party apparatchik who epitomizes Bolshevik fanaticism, fell victim to the terror he once advocated, executed in 1936 in one of Stalin’s early “show trials.”

* Louise Bryant led possibly the saddest of the lives of the Old Left bohemians in Reds. Continuing her journalistic career for a short time after Reed’s death (one scoop was an early interview with Benito Mussolini), she married her third husband, William C. Bullitt--a staffer in the Wilson administration she had once excoriated--in 1924. With this future Ambassador to Russia under FDR, she was able to have the child she did not have with Reed. But his discovery of her affair with sculptor Gwen Le Gallienne led him to deny access to their daughter in their subsequent bitter divorce. Stricken with Dercum's disease, a condition characterized by painful fatty tumors and/or fatty deposits, she lost her beauty and took refuge in alcohol, dying in 1936.

As imperfect as it was in suggesting the nature of these tangled lives, however, Reds was, as Griffiths put it, "the most important movie about politics ever to come out of the Hollywood studio system.” Or, as Norman Mailer put it in a 1991 Vanity Fair profile of the actor-hyphenate: "Who else in America had dared to produce and direct a film so monumental in scope and so avowedly sympathetic to the early aspects of Communism?"

　

Several months after its release, Reds was nominated for 12 Oscars, with Beatty himself receiving four--the only person to that point to receive four nominations for a single film in two different years (he  had pulled off the same feat three years earlier with Heaven Can Wait, the commercial film he did as a favor to convince Paramount to back Reds).

Beatty walked home with the Best Director Oscar, but Academy voters awarded Best Picture to a small-budget, optimistic film that was the direct antithesis of the downbeat blockbuster about the Old Left: Chariots of Fire. The denial of the ultimate prize meant that Beatty’s dream project, which cost nearly $36 million, would barely make a profit.

The film’s underachievement at the box office also meant that Reds would represent the last gasp of the “New Hollywood” or the “American New Wave” that arguably began with Beatty’s own Bonnie and Clyde in 1967. Films that challenged the status quo with a new aesthetic and more challenging subject matter were already yielding to the summer blockbuster phenomenon that had begun in earnest with Steven Spielberg’s Jaws in 1975.

Quote of the Day (Dietrich Bonhoeffer, on Advent)

“A prison cell like this is a good analogy for Advent: one waits, hopes, does this or that—ultimately negligible things—the door is locked and can only be opened from the outside.” —Lutheran theologian and anti-Nazi martyr Dietrich Bonhoeffer in Letters and Papers From Prison (1997)