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46
November 13 • 2014
Verbal Fencing Match
t is not necessary for every new movie
about World War II — and there are
a surprising number each year — to
reference the Holocaust. Even so, many
moviegoers consider the calamities inex-
tricably linked — as do most filmmakers.
Contemporary audiences have the
benefit of hindsight, and as Jews we are
particularly attuned to the Third Reich's
crimes against civilians. So we never for-
get the genocidal campaign happening
concurrently with the military operation
— even if it is not the focus of the movie
or isn't even mentioned.
The Holocaust is alluded to only once
in Diplomacy, Volker Schlondorff's mar-
velously directed and beautifully acted
film about the late-summer night in
1944 when Paris' fate hung by a thread of
conversation. Yet that passing reference is
arguably the crux upon which the high-
stakes drama turns.
Adapted by Cyril Gely from his play and
starring the great veteran French actors
Niels Arestrup as German Gen. Dietrich
von Choltitz and Andre Dussollier
as Swedish consul Raoul Nordling,
Diplomacy, opening Friday, Nov. 14, at
the Detroit Film Theatre, is at its core an
impassioned debate about the prospects
for human civilization.
Gen. Choltitz, you see, has been recent-
ly dispatched to Paris with an order from
Hitler to destroy the city when the Allies
arrive. Choltitz has approved the wiring
of explosives that will not only demolish
Notre Dame, the Louvre, etc., but will
cause the Seine to flood, killing thou-
sands of residents.
A loyal, seasoned officer, Choltitz
has every intention of carrying out his
instructions. It doesn't matter that no
military advantage will ensue from
turning one of the world's great cities to
rubble; an order is an order. The logic
behind the order is likewise of little inter-
est to him, with revenge (for the bombing
of German cities) constituting sufficient
grounds.
Enter Consul Nordling, through a
hidden entrance to the general's hotel
headquarters that Choltitz was unaware
of, with a nocturnal plea to defy Hitler's
wishes. The impassioned Nordling deliv-
ers an array of arguments, all effortlessly
rebuffed by Choltitz, but the diplomat
does manage to reveal the man behind
the uniform.
Not for the first time in movies
(although it is a comparatively recent
development), the German officer isn't
depicted as a one-dimensional, sadistic
true believer. He is an educated man with
a wider worldview, albeit one only arrived
at through the devastating realization that
the Third Reich had irrevocably crossed
serious lines under the influence of
Fuehrer-worship.
At one point in their verbal fencing
match, Choltitz informs Nordling that
early in the war he had unhesitatingly car-
ried out an order to eliminate the Jews in
a town on the Eastern Front. It didn't even
occur to him to question Hitler's directive.
To Nordling — though he doesn't say it
— and to us, no conceivable justification
exists for the targeted murders of a minor-
ity. Choltitz, we gather, has reconsidered
his behavior during that mass murder
as the war ground on and Hitler lost his
tenuous grasp on reality.
Can a supposedly neutral diplomat out-
wit a general with his finger on the but-
ton? Can a Nazi officer rejoin the civilized
peoples of the world? Even if you don't
find the latter a compelling conversation
starter, and you are well aware that Paris
survived the war intact, Diplomacy is a
deeply rewarding profile in conscience.
❑
Diplomacy, in French and German
with English subtitles, screens at
the Detroit Film Theatre at the
Detroit Institute of Arts at 7 p.m.
Friday-Saturday and 2 p.m. Sunday,
Nov.14-16; at 9:30 p.m. Saturday,
Nov. 22; and at 4:30 p.m. Sunday,
Nov. 23. $6.50-$8.50. (313) 833-
4005; www.dia.org/dft.