Which brings me to the most curious aspect of von Trotta's film. In 2011, on the 50th anniversary of the Eichmann trial, Yad Vashem, along with the Israel State Archives, made more than 200 hours of courtroom footage publicly available. (One can watch it on YouTube, in the original Hebrew and German, or dubbed into English: youtube.com/EichmannTrialEN.) Von Trotta uses about 20 minutes of this footage in Hannah Arendt: real, recorded courtroom scenes in which the twitchy Eichmann sits in a glass booth, stacks his papers, runs his tongue over his teeth, takes out his handkerchief, answers questions ("I received the matter for its continued processing"; "These records were not the authority of Department 4B-4")-in short, is human right before our eyes.
The effect is startling; something like, as Marianne Moore (a poet Arendt was fond of) might have said, seeing a real toad in an imaginary garden. The footage forces the viewer to confront the face of Eichmann — the fact of Eichmann — even if any ostensible banality is undermined by the crescendo of the soundtrack. But in her zeal to stand in Hannah Arendt's corner, von Trotta gets backed into one of her own simply because the political pendulum has swung in the intervening time.
Von Trotta, a self-described feminist (as neither Hannah Arendt nor Mary McCarthy was), takes care to have a character mention, for example, that Arendt's husband Heinrich Blücher was a follower of Rosa Luxemburg (the subject of one of her earlier films). Hannah Arendt quite movingly shows — without stressing the fact — that young Hannah, the sole female student in her university classes, will grow up to teach classes with a good number of female students.
But after a lecture at New York's New School for Social Research, one of those students says to Arendt, "The Nazi persecution was aimed at Jews. Why describe Eichmann's crimes as ‘crimes against humanity'?" Arendt's syllogistic answer — "Because Jews are human" — not only skates over her troubled sense of her own Jewishness but goes exactly against current thinking, which favours stiff sentencing for "hate crimes" targeting members of minority groups. One wonders if von Trotta would have scripted the scene the same way if the targeted group were women instead of Jews. At another point in the film, during the Eichmann trial footage, we see a short, seemingly random clip of a survivor referring to "two years in Auschwitz — when I was a Muselmann". One suspects that von Trotta inserted it to suggest that the ultimate target of the Nazi slaughter was undifferentiated humanity — not Jews specifically. But Muselmann in this context does not mean "Muslim" — the word is concentration-camp jargon for the most cadaverous prisoners.
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