Spoiler Alert: These essays are ideally to be read after viewing the respective films.
Showing posts with label responsibility. Show all posts
Showing posts with label responsibility. Show all posts

Monday, July 6, 2026

Eichmann

There comes a point in the film, Eichmann (2007), which is based on Avner Less’s series of interviews with Adolf Eichmann in an Israeli jail, when the man who was in charge of transport to the Nazi death camps realizes that he will lose the upcoming trial and be hanged; the hitherto unemotional Eichmann instantly tears up in front of Avner Less in the small, windowless room and laments never being able to see his children again. Less points out that Eichmann has sent many children to their deaths, “but they were Jews,” Eichmann counters. The inroads into the psyche that Nazi propaganda reached was suddenly obvious, even odd. Ideology with the machinery of state as a proponent and enforcer can short-circuit the human mind without the mind being aware of its own cognitive distortions. Eichmann states, “but they were Jews” as if anyone would understand because he takes the validity of the statement as a given. Translation: Jews were not only enemies of the state; they were also subhuman. In an earlier interview, Eichmann disclaimed being antisemitic with a tone that conveys to the audience that he really believes his statement. At the very least, the mental pathology of disassociation seems to have been caused by the earlier Nazi propaganda. State ideology can indeed be mentally invasive, and this may say as much about the vulnerabilities of the human brain as the danger latent in political power than can manifest in massive states as not only war crimes, but also the more severe crimes against humanity.

Ironically, in the third decade of the twenty-first century, the Israelis would adopt the same subhuman stance (the stance itself being subhuman as well as regarding people deemed to be subhuman) towards the Palestinian people living in Gaza especially, but also in the West Bank (and Lebanon). Can the infliction of one holocaust be understood as an instinctual aggressive reaction on an intergenerational collective basis to an earlier one that has been inflicted on ancestors? The misfiring is obvious because the Palestinians and Germans are two different peoples, so the adage, two wrongs don’t make a right applies. Another adage reads, “Vengeance is mine, sayeth the Lord.” The biblical intent is to keep vengeance out of the hands of (God’s?) children. But whose Lord is that?  

Eichmann was evidently an atheist; the Nazi party was officially so. Had Eichmann regarded himself as a Christian, the man’s cognitive dissidence would have been too much even for him to ignore and manage, though admittedly the Crusades were committed by “Christians” in the name of Christ without enough dissidence for them to turn back and go home. Ironically, Eichmann had studied Hebrew, which is why, according to Avner Less in the film, Eichmann was selected to head his department that was oriented to the Jewish problem in transportation. Even though Eichmann repeatedly insists in the interviews that he was just a cog in the massive Nazi state machine, and therefore wielded no significant power of his own for which he should be held morally responsible, being the head of all the transportation to the death camps came with too much power to be labeled merely as bureaucratic.

In fact, the narrative’s pivot, or inflection point, is on Eichmann’s own abuse of power, which is to say, an abuse that he cannot claim to have been merely following orders on pain of death. He was sufficiently high in the Nazi hierarchy to have wielded power of his own and thus to be held responsible for any consequent suffering and death. Whether the latter two can become so massive and severe that even just following orders even on pain of death cannot obviate being morally responsible is an interesting ethical question without an easy answer—perhaps answering the related question of whether self-sacrifice is not only a virtue, but also a duty if many people would suffer severely and unjustly die otherwise is prerequisite. In suggesting that Indians stand up to invading Nazis were they to invade India, Gandhi advocated such a duty and even claimed that it has much moral power in resisting evil.

Although Eichmann strangely volunteers to sacrifice his life as a lesson to anti-Semites, Avner Less dismisses the offer as disingenuous. As a policeman, he is savvy. Crucially, anticipating the film’s pivot, it is clear that he is clever in detecting the nuance in Eichmann’s pattern of minimizing the fact that he took orders directly from Himmler rather than from Hitler himself. Eichmann is hiding something, and Avner Less senses this, so he immediately has his staff focus exclusively on pulling all of the written correspondence between Eichmann and Himmler that the department has. Avner Less’s abrupt shift in his investigative strategy is in line with having realized the utter futility in getting a confession from the devoted, high-ranking Nazi. Having been in the SS, Eichmann too is savvy to say something self-incriminating. Avner Less too is savvy; he notices that Eichmann covered his tracks well by having retained written documentation of the orders he was obeying. No one is perfect, however, and in giving the order that over 70,000 Hungarian Jews walk from Budapest to a death camp in Poland, Eichmann actually defied Himmler’s order that such a march not take place! Visually precise for viewers, Avner Less places the papers of both orders side by side on the desk in front of Eichmann. The two orders contradict each other—crucially with Himmler’s order having an earlier date. Eichmann, being a firm believer in the value of written documentation, can only slump silently in his chair, knowing that he had not sufficiently covered his tracks as an SS man, and therefore he would be convicted and put to death. Given the historical accuracy of the film, this means that during the entire trial, which is not depicted in the film, Eichmann knew he would be convicted and die.

The film ends with Avner Less mailing the letter than Eichmann had begged be mailed to his family. That Avner’s own father died in a Nazi camp makes the generous nature of the gesture all the more astonishing, especially given the violent protests by Israelis of the interviews happening at all, and thus of Avner Less’s involvement, on the grounds that Eichmann does not deserve even a trial, given the monstrosity of the crimes against humanity—a label that was coined at the famous Nuremburg trial.

In the film, and perhaps in the historical record too, Avner Less does not ask Eichmann why he violated Himmler’s order and gave the order to proceed with the march anyway. Perhaps Eichmann was more realistic than Himmler and Hitler that time was limited for the Nazis in November 1944, given the military progress of the Allies, so desperate means were needed to quickly kill as many Hungarian Jews as possible.  Perhaps Himmler (or Hitler) was worried so late in the war that the evidence of thousands of bodies left along the way could be used by the Allied victors after the war to prosecute the Nazis. Eichmann was likely frustrated with the slow pace with which his superiors were ridding Europe of Jewry. This is precisely why it is so strange that he repeatedly resists the label of anti-Semite in the interviews with Avner Less. Impatience with ridding Europe of the subhuman “race” is of course highly anti-Semitic, but, strangely, and here the nefarious, dangerous power of a state-sponsored ideology should be flagged for future reference, Eichmann does not appear to “connect the dots” in his (brainwashed?) mind. “But they were Jews.”

In The Reader, released in 2008—a year after Eichmann—Hanna Schmitz, a former death-camp guard on trial in Germany, astonishes the chief judge with just such a line. To the judge, Hanna’s rationale is astonishing to the point of utter disbelief that anyone could use such a warped justification for standing by while other people needlessly die. Meanwhile, to her, the justification is something that presumably anyone would simply take for granted as being entirely reasonable. The pathos of distance is incredible. To paraphrase her rationale: Of course, we let the Jewish prisoners burn in the locked church; they were our prisoners; we were responsible for them; we couldn’t just open the doors and let them escape. This line, plus Eichmann’s, reveal the visceral depth with which the propaganda of a state can insidiously damage the human mind without it having a clue as to its own warped condition. Therefore, it behooves each human being to routinely self-check for having gone too far in one’s own ideological commitments, as well as to critique the ideology itself with the understanding that no human ideology is or can be perfect, for we are human, all too human.


Tuesday, February 4, 2014

The Wolf of Wall Street: Greed as Excess


Greed is indeed a major player on Wall Street. Perhaps this is why films on the financial world embellish the behavior; film-goers might otherwise fall asleep. It is much more difficult to see greed fueling the embellishment highs in the process of film-making. Perhaps both Wall Street and Hollywood are glitz on the outside, but supercharging the inside hardly does justice to either venture. In this essay, I discuss Jordan Belfort, an actual financier on Wall Street and the main character in the (fictionalized?) Wolf of Wall Street (2013) so as to flesh out the different ways in which sordid greed manifests in modern society.

In 1991, Robert Shearin could only repress his frustration as brokers at Stratton Oakmont unloaded their own shares in penny stocks while ignoring the sell orders of Shearin and other investments. "By the end it was constant screaming matches with these people," Shearin recalls. "They would just ignore my sell orders."[1]
The “suck and dump” scheme ran from 1988 to 1996. Twenty years later, the investment firm’s founder and CEO, Jordan Belfort, was still wheeling and dealing. After 22 months in prison followed by a period probation until 2009 during which half of his income had to go toward the $110 million in restitution, he was brazenly holding the remaining restitution ($98.4 million) owed to his shafted clients as hostage in negotiations with Loretta Lynch, the U.S. attorney for the Eastern District of New York. Since the end of the probation, Belfort had paid restitution of only $243,000 on income of millions from his two memoirs, the sale of the film rights, and motivational speaking fees.[2]  Although legal, the post-probation skimping effectively nullifies his claim of being a changed man. "I was not such a good guy back in the day. But I'm a good guy now. I am. I live my life with such integrity," he told the New York Daily News in October of 2013.[3] Yet at his speaking engagements, he would repeatedly quip, “Hey, at least no one got killed.”[4] Hearing about this crafty way of evading questions, Diane Nyggard, the attorney who represented Shearin and twenty-four other investors whom Belfort fleeced, replied, "I guess you could say no one was murdered. But a lot of lives were ruined, and many of the more elderly investors never recovered."[5] Poverty, especially that which comes out of treachery, is a sort of death that gradually saps the body and abruptly snuffs out the the spirit, leaving in its wake walking corpses who cannot afford even to haunt the bewindowed towers.
At the end of 2013, Belfort was still trying to weasel out of paying the remaining 90 percent of the restitution still owed to over a thousand former clients, including Shearin (who had received only 20 cents on the dollar as restitution). To be sure, Belfort had some leverage in the negotiations, for the 50 percent of income stricture had elapsed at the end of the probationary period so he could legally continue to pay scraps until his death, after which the restitution would abruptly stop. Among other acts, he had spent five years after being arrested in 1998 on securities fraud and money laundering charges wearing a wire, “ratting out friends and colleagues from Stratton Oakmont and testifying against them at trial.”[6] Besides stabbing friends in the back, the founder was essentially making the people whom he had trained and ordered to rip clients off take the hit in his place.
True to form, in the negotiations in 2013 on the remaining $98.6 million, the unchanged man offered to pay all the money from the film and books into the restitution fund if Lynch will substantially reduce the rest of his obligation. With almost all of the $11.4 million having come from sales of Belfort’s properties, the unrepentant swindler was clearly trying to keep the restitution judgment from touching the fortune he had saved from his swindling enterprise.
What lesson can we take from this case concerning the nature of greed? Most principally, it has not only unlimitedness as a salient quality, but also an in\mperviousness to the restraint that comes out of conscience. Put another way, greed does not recognize should. Instead, the desire for an even better deal, ad infinitum, views the external world as potential props that are themselves perceived only in so far as they can potentially be manipulated for gain. Because the last deal is never good enough, as it does not satisfy the desire, the wealth one possesses, including in property, goes practically unnoticed unless it can be manipulated for still more. That is to say, what was once vividly in focus as the aim of the best deal so far is naturally dismissed by greed as it moves on to getting still more for even less.
Going too far, in never being satisfied with enough, can apply to film-making too. In The Wolf of Wall Street, which is based on Belfont's memoires, the credo of film-making that even a story based on a “true story” must push the truth to dramatic exaggeration to hold an audience's attention reduces Belfont and his second in command to a contorted mass of drugged-down humanity on the floor of Belfont's kitchen and side room. Having already provided over-the-top eye candy in the scenes of the office celebrations, Martin Scorsese apparently felt obliged to "kick it up a notch" on the emotional intensity meter by having Leonardo DiCaprio flop around on the floor, tangled in a phone cord while shouting and foaming at the mouth.
DiCaprio plays Jordan Belfort. The character reduces from this realistic image to a floundering fit of over-drugged and over-dramatic human mess. (Image Source: AP)
It is as though film must push its own adrenalin highs, each one more intense than its predecessor, in order to maintain the attention of a hyperactive audience, itself on popcorn laced with speed. With what costs to the story and, ironically, the integrity of the characters does serial exaggeration in a screenplay come? According to Shearin, the audience skates past the grounded gravitas of the characters as real human beings, whether fictitious or based on real people. "Jordan Belfort is not a fictional character, but when DiCaprio plays him he becomes one for the audience," he said. "We like our scoundrels as entertainment, but it's easy to become disengaged from the real harm this guy did."[7] Watching the fun-loving, theatrical Belfort motivate his brokers onscreen does not begin to reveal the man behind the character, who stabbed his friends in the back in order to save himself from the consequences of what he himself had engineered and gotten others to do for him.




[1] Paul Teetor, “How the “Wolf of Wall Street” Is Still Screwing His Real-Life Victims,” LA Weekly (Blogs), December 16, 2013.
[2] Ibid.
[3] Ibid.
[4] Ibid.
[5] Ibid.
[6] Ibid.
[7] Ibid.