Imaginary Witness: Hollywood and the Holocaust is a 2004 documentary film directed by Daniel Anker and narrated by Gene Hackman that examines the treatment of the Holocaust in Hollywood films over a period of sixty years and the impact of the films on public perception and thinking, and vice versa.IMDB.com The film was originally produced for the American cable network, American Movie Classics.New York Times Review Summary.
Background Director and film-maker Daniel Anker's father was a refugee from Germany, and many of his relatives, including his great-grandfather, uncle, and cousin were murdered in the Holocaust, but he had not considered making a film on the subject until AMC approached him with the idea.Maxwell, Andrea."Re-Visiting History. NewEnglandFilm.com, accessed January 14, 2011. His past projects on issues including campaign finance reform and racism, convinced the AMC leadership that he was the right person for the project, and they agreed to leave "the specifics of the project to him."
According to Anker, he was inspired by the documentary technique employed in the film Visions of Light—a documentary about films and film-makers—and made the decision to use extended clips from Holocaust movies to tell his story. He included interviews with some of the people who worked on the films he chose, including directors Sidney Lumet and Steven Spielberg and actors including Rod Steiger.
As Anker shows in the film, Hollywood did not only tell stories about the Holocaust, it actually helped to document the war. "Directors Frank Capra, John Huston, Billy Wilder, and George Stevens all worked for the Army Signal Corps' motion picture unit. So important did the US government consider their work that after liberation, film crews went into concentration camps even before medical teams. In the portion of the film describing the initial screenings of their footage back in the U.S., a portion narrated by film editor Stanley Frazen and screenwriter Melvin Wald, Wald says that "It was the most horrifying thing I'd ever seen, because the inmates walking in their black and white uniforms were like ghosts," and Frazen admits that he had to leave the projection room to vomit.
Release Although the official US film release is recorded as December 25, 2007, it was shown earlier than that at a number of film festivals, including: Tribeca Film Festival (May 6, 2004), Newport International Film Festival (June 10, 2004), San Francisco Jewish Film Festival (July 27, 2004), Adelaide Film Festival (February 21, 2005), Cleveland International Film Festival (March 15, 2005), Thessaloniki Documentary Festival (April 4, 2005), Iceland International Film Festival (April 11, 2005), Warsaw International Jewish Film Festival Ha-Motiv Ha-Jehudi (May 23, 2005), and the Hong Kong Jewish Film Festival (November 25, 2007). Its U.S. TV premiere was April 5, 2005.IMDB.com, Release dates.
The late 2007 release date is attributed to the fact that it was originally made for cable TV, and then only later screened in theaters for a short time before the release of the DVD.Film-forward.com. Accessed January 15, 2011.]
Content Imaginary Witness includes scenes from over forty films and newsreels, and interviews with leading scholars, filmmakers, and Holocaust witnesses, to show how films portrayed Holocaust events, reflected public sentiment, or helped to shape it. It explores "the question of how an industry that sells fantasy has dealt with one of the most horrifying episodes in modern world history, but also how the movies themselves reflect America's ever-evolving relationship to the events of that era." Among the many films excerpted for the documentary are The Mortal Storm, The Great Dictator, The Diary of Anne Frank, and Schindler's List.The Jewish Museum.org , accessed January 14, 2011.
The movie website includes this description:
At the core of the film is an ethical and moral debate about portrayal. Is it even possible to imagine on screen the unimaginable? Should the movie industry even undertake such an endeavor? Ultimately, the film asks hard questions: about the uneasy relationship between American popular culture and the Holocaust, about the responsibility of filmmakers in their portrayal of history, and about the power of film to affect the way we look at ourselves.
Movie reviewer Mark Deming, writing for All Movie Guide wrote:
The American film industry took it upon itself to act as a cheerleader for United States and Allied military interests during World War II, but Hollywood was initially reluctant to directly condemn Nazi anti-Semitism, and it wasn't until years after the war ended that American filmmakers began offering a realistic, dramatic look at the horrible toll of Hitler's "final solution." Imaginary Witness: Hollywood and the Holocaust is a documentary which examines how filmmakers reacted to German scapegoating of Jews before, during, and after the war, ranging from the boldness of Confessions of a Nazi Spy and The Mortal Storm (both of which were produced before America entered the war) to more oblique statements during the war itself, and then finally leading to an honest portrayal of the full consequences of the Holocaust beginning in the '50s.
In addition to excerpts from Hollywood films, the documentary includes official military newsreel footage of thirteen studio moguls who traveled to Europe to witness personally the evidence of Nazi atrocities at the invitation of General Eisenhower.
"It felt to us like a seminal moment," says Anker who uncovered documents in the personal files of Jack L. Warner at USC. The message of the trip was clear: go home and bear witness to these atrocities, and for a time newsreels did carry graphic images of bulldozers burying bodies at Bergen-Belsen, an image that would be etched in the collective memory of a generation of people. But Eisenhower's mission was not accomplished and it would be decades before Hollywood would again depict a concentration camp on screen.
Eisenhower, who wrote to Chief of Staff George Marshall that he had personally visited Ohrdruf concentration camp "in order to be in a position to give first hand evidence of these things if ever, in the future, there develops a tendency to charge these allegations merely to propaganda,""Days of Remembrance: A Department of Defense Guide for Annual Commemorative Observances of the Holocaust, Second Edition, March 1989. sent out invitations to journalists, photographers, and film makers from both the United States and England. He explained his belief that permanent documentation of the atrocities American forces had uncovered was crucial for many reasons, including the fact that, "We are told that the American soldier does not know what he is fighting for. Now, at least, he will know what he is fighting against."
This documentary has been recognized as a chronicle not only of an important element of film history, but also of world history. As one review put it,
This ambitious documentary provides not only a survey of Hollywood films about the Holocaust, but also a history of the Holocaust itself, and of the main cultural currents that characterized pre- and postwar America. The result is a frank, complex look at how the film industry both influences and is in turn influenced by the culture at large.Nelson, Michael Curtis."Imaginary Witness: Hollywood and the Holocaust." PopMatters.com, accessed January 14, 2011.
Featured films The documentary includes newsclips from newsreels, from footage of liberated camps to events such as a conference in Jerusalem of Holocaust survivors; clips from television productions including one episode of This Is Your Life, in which a woman is reunited with her sister, who she thought had died in the Holocaust; documentaries such as Kitty: Return to Auschwitz; some excerpts from films not directly depicting the Holocaust but related to its memory, such as the miniseries Roots, which paved the way for the miniseries, Holocaust, or Objective, Burma!, an example of a World War II film depicting the War in the Pacific; even one Looney Tunes cartoon, The Ducktators; and excerpts from feature films with direct Holocaust content. These Holocaust films include:Presskit from Shadowdistribution.com., accessed January 16, 2011.
Black Legion Cabaret Confessions of a Nazi Spy Crossfire The Diary of Anne Frank Gentleman's Agreement The Great Dictator Harold and Maude Heroes for Sale Hitler's Children Hitler's Madman Holocaust (NBC miniseries) Judgment at Nuremberg (both CBS Playhouse 90 teleplay and feature film) I Married a Nazi
The Mortal Storm None Shall Escape The Pawnbroker The Producers The Search Schindler's List Ship of Fools Singing in the Dark Sophie's Choice To Be or Not to Be Tomorrow the World Underground War and Remembrance (ABC miniseries)
Interviews "After spending six months doing research, selecting film clips and writing a script, Anker and his team set out to do the 21 interviews that form the backbone of the film ... Anker's goal was to get at least one major player from each film who could address the issues of that film." Those interviewed in the film are:Names in this list that are not included in the film press kit available online are taken directly from the DVD version of the documentary: "Imaginary Witness: Hollywood and the Holocaust," Koch-Lorber Films DVD #KLF-DV-3171, .
Norma Barzman, Screenwriter Michael Berenbaum, Historian Robert Berger, Producer Robert Clary, Actor and Holocaust survivor Dan Curtis, Director Stanley Frazen, Film editor Neal Gabler, Historian Annette Insdorf, Film historian Sidney Lumet, Director Branko Lustig, Film producer and Holocaust survivor Abby Mann, Screenwriter
Gene Reynolds, Actor/Director Sharon Rivo, Film historian Thane Rosenbaum, Writer Vincent Sherman, Director (at 96, the oldest person interviewed in the film) Steven Spielberg, Director/Producer Martin Starger, Producer Rod Steiger, Actor George Stevens, Jr., Producer Malvin Wald, Screenwriter Fritz Weaver, Actor
In addition to the interviews specifically conducted for the documentary, clips of many other individuals are included within newsreels and television discussions that are included in the film, such as Holocaust survivor Benjamin Meed and Rabbi Joachim Prinz, former religious leader of the Berlin Synagogue.
Structure Interweaving the interviews and the film clips, the documentary describes how the history of the depiction of the Holocaust in Hollywood films can be divided into four distinct phases:TVGudide.com, Review. Accessed January 15, 2011. First: Hollywood's reluctance to critique the rise of Nazism during the 1930s, during a time when its "self-policing Production Code expressly forbade any unfair depictions of other nations, particularly when economic interests were at stake." The documentary shows that the one exception during this phase was Charlie Chaplin's 1940 film, The Great Dictator. Second: films made during the years of the war, most of which focused on the war in the Pacific. Films that dealt directly with Nazi Germany, such as the 1944 film Tomorrow the World, usually focused on the certain victory of democracy over fascism. Only some of the so-called lower-budget "B movies" like the 1944 film None Shall Escape "dared to directly address the Final Solution," often because these movies "tended to fall below the radar of the Production Code."