On Brittain and Spotton's MemorandumMemorandum. Directed by Donald Brittain and John Spotton. 1967. Montreal, QC: National Film Board of Canada, 58 mins.About Memorandum Amos Vogel, in his book Film as Subversive Art, declared: With [Alain Resnais' 1955] Night and Fog, this is unquestionably the most sophisticated film yet made on the philosophical and moral problems posed by the concentration camp universe.1 Vogel praises what he calls a complex filmic structure, combining cinema verite and constant mingling of past and present.2Donald Brittain (1928-1989) was documentary filmmaker whose work frequently explored the lives of iconic (and usually controversial) personalities, from communist sympathizer Norman Bethune (Bethune, 1964) to Parti Quebecois founder and separatist Rene Levesque (The Champions trilogy, 1978-1986). His films critique how Canadians define themselves, and the dehumanizing effects of routine and bureaucracy, an issue central to Memorandum. His collaborator on the film was John Spotton (1927-1991), cinematographer, director, and editor at the National Film Board of Canada. Spotton's work on Wolf Koenig and Roman Kroitor's Lonely Boy (1962) helped popularize the cinema verite movement in the early 1960s.I first saw Memorandum in an undergraduate class on documentary cinema. At the core of Memorandum is what Brittain would later call the Canadian hook-the story of Bernard Laufer, Toronto glass cutter and Bergen Belsen survivor who returns to Germany in 1965 on tour of his old concentration camp. As Laufer's pilgrimage unfolds, the filmmakers show us images of postwar life in Germany and Austria. What becomes instantly clear is how quickly things seem to have reverted back to normal. Restaurateurs prepare for Oktoberfest while fresh grass grows over Dachau, and Belsen's barracks are now NATO firing range-what the film calls garden. Everything is green, everything is nice, remarks survivor. The older generation wants to change the subject, says German youth. The film, meanwhile, rejects this willful ignorance, this notion that the Holocaust is history and Hitler's campaign is in the past.Memorandum's indictment of Western routine and ordinariness underscores the notion that the atrocity was perpetuated by people simply doing their jobs. The systematic extinction of European Jewry, the film suggests, was carried out by ostensibly ordinary individuals-sane, God-fearing citizens who simply claimed to be following orders. Hannah Arendt (whose coverage of the Eichmann trial would inspire Brittain to pitch the Memorandum project to the National Film Board of Canada) famously dubbed this the banality of evil.3 Birkenau, camp that the film tells us once consumed 12,000 humans day, two and half million in two and half years [. . .] was not the work of mad men, but product of Western civilization. Memorandum dismisses any attempt to rationalize the Holocaust as singular act of insanity: the film maintains that once crime has been committed, it becomes for all time potentiality.Compared to the unfiltered brutality of Resnais' film, Memorandum's approach to the Holocaust is subdued and intentionally detached. Rather than attempting to explore the totality of the genocide, Memorandum offers images of modern, urban Berlin, city that fundamentally does not want to talk about the war. …
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