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• W270265220 abstract "Claude Lanzmann's latest film, The Last of Unjust, is based on footage shot in 1975, as part of his research for his monumental film Shoal. It consists of a series of interviews Lanzmann conducted with only surviving member of a Jewish Council/Fudenrat to survive war. Lanzmann's insistence to attain testimony from last surviving witnesses, like that of a member of Sonderkommando (the inmates forced to work in gas chambers), is central to his act of vivifying memory as testimony. In Shoab, Lanzmann as metteur-en-scene recreates circumstances that will stimulate memory, witnessed at a time of trauma or incomprehension, to surface. It is a strategy to recover what might be buried or lost, and it becomes both an act of restoration as well as resistance to Nazi's policy of masking and dissimulation. In this way, Lanzmann fills in an absence as an act of resistance to erasure, and a means to elicit and draw forth testimony, thus ensuring its survival. It is Lanzmann, director as artist and activist, who combines words and images, giving raw material form and meaning. The choice of present-day locations edited against personal testimony stimulates viewer's imagination and invites a new way of perceiving presentness of what still reverberates. Like Shoah, The Last of Unjust acts as a memorial site in way a synagogue wall of remembrance does, inscribing and preserving what might otherwise remain eradicated and lost. The Last of Unjust raises dilemma of Jewish Council members who were condemned after war, most famously by Jewish intelligentsia like Hannah Arendt and Gershom Scholem (Lanzmann claims that even historian Raoul Hilberg viewed Jewish Council members such as Chairman of Warsaw Ghetto, Adam Czerniakow, as collaborators, and had to be convinced to read from his diary in Shoah) who interpret their role as mediators as collaboration. While there were a broad range of Council members who had distinct personalities and motives, (for example, tormented Adam Cziernakow from Warsaw as opposed to dictatorial Chaim Rumkowski from Lodz) Lanzmann's film challenges charge that they were collaborators sharing an ideology with their oppressors as did French, for example, wh.o willfully collaborated with their occupiers. He instead revisits impossible problem of preserving survival of a community faced by a Council Chairman like Benjamin Murmelstein. During his tenure at Theresienstadt, Murmelstein was responsible for such tasks as preparing lists of Jews for deportation to East, cutting food supplies, increasing work hours, and keeping ghetto running and necessary. By his own admission, was mean, a big mouth and generally disliked by Jewish inmates. Murmelstein is a fascinating interviewee because is smart, erudite, and honest, as Lanzmann notes, he does not lie. Murmelstein presents difficulties of situation without minimizing terrible contradictions that informed his position of deadening blows between what Murmelstein describes as the hammer and anvil, illuminating what Primo Levi called the gray zone, a realm immune from categorical moral judgments, in which Murmelstein both saved lives and earned hatred and animosity of his constituents. At one point in interview Murmelstein refers to himself as 'the last of unjust', alluding to Andre Schwarz-Bart's novel The Last of lust published in 1959, which follows a succession of righteous Jews through several generations of a family, culminating in Auschwitz. Drawing on a Jewish tradition, novel is informed by idea that righteousness of certain hidden Jews in every generation ensures continued existence of humankind. Murmelstein's inversion of title captures quandaries surrounding Fudenrat; his unusual survival (his two predecessors at Theresienstadt were killed) sets him apart and leaves him vulnerable to suspicions of collaboration. …" @default.
• W270265220 created "2016-06-24" @default.
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• W270265220 date "2013-06-22" @default.
• W270265220 modified "2023-09-23" @default.
• W270265220 title "Claude Lanzmann's the Last of the Unjust" @default.
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