![]() Soon after came Jean-François Steiner’s 1967 publishing sensation Treblinka, a shocking you-are-there account of the Final Solution gleaned from survivor accounts that isn’t frequently referenced today, but was quite important during its time. In 1964, Sidney Lumet’s The Pawnbroker was the first Hollywood film in which it was expected that audience members would understand the measure of the camp atrocities. Many consider the Adolf Eichmann trial in 1961 an attempt by the Jewish state of Israel to attain some sort of closure. ![]() “They don’t like to talk about it” was something a lot of first-generation Jewish Americans would say about their survivor parents. Some argue that the world never fully dealt with the horror of the Holocaust until the 1960s. The wounded nation of West Germany is trying to rebuild, and their great ally (and financial backer) the United States is focusing all its energy on containing the Soviet Union. “The victors get to make up stories,” one shrugs. A 20-year-old woman shrugs, and even those who recall Auschwitz as a prison camp swat away half-remembered accusations of mass murder. ![]() ![]() The setting is a public prosecutor’s office in Frankfurt, 1958. “You there, what happened at Auschwitz?” So barks a pedantic exposition machine masquerading as a character in Giulio Ricciarelli’s well-meaning but bordering-on-inept historical drama Labyrinth of Lies.
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