Von Trotta is eager to fight Arendt's battles, but time and again shows that she is no more equipped to understand them than McCarthy was. Especially clumsy is her attempt to correlate Arendt's philosophy to a contemporary posture toward Israel. Despite von Trotta's having Arendt refer to her Zionism as a "youthful folly", the political picture has simply changed too much for an overlay of Arendtian acetate paper to mean anything.
The Yad Vashem footage and Hannah Arendt are not the only film releases to explore Arendt's legacy, or Eichmann's. At this year's Cannes Film Festival, Claude Lanzmann premiered his documentary The Last of the Unjust. More than three-and-a-half hours long, the film is a series of outtakes from Lanzmann's monumental Shoah, all of them featuring Benjamin Murmelstein, a Nazi-appointed "Jewish Elder", who speaks about the choices he had to make while running the Czechoslovakian concentration camp Theresienstadt; at one point, he describes himself as a "marionette that had to pull its own strings".
Murmelstein is a figure like those that Arendt implicated in Eichmann in Jerusalem, where she alleged that the co-operation of leaders of the Judenräte (Jewish councils) with the Nazis expedited their own annihilation. Murmelstein's reflections make Arendt's wholesale indictment of those in his position seem unjust.
And so the Arendtian myth suffers a bit, on one end from Lanzmann's repudiations and on the other from von Trotta's anaemic boosterism. The best outcome would be a recalibration of her legacy, one acknowledging that her literary inclinations (nurtured by her friend Mary McCarthy) occasionally overtook her philosophical principles.
Asked by her husband if she would write Eichmann in Jerusalem again had she known the consequences, von Trotta's Arendt replies that she would, adding, "Maybe I had to find out who my real friends were." If only she had been so adept at identifying her enemies — including herself.
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