As Seen Through These Eyes Reviews (3)

A special artists' view of the Holocaust

By Donald H. Harrison The Jewish Citizen

SAN DIEGO—As Seen Through These Eyes documents the escalation of horror in Nazi-run Europe from  the promulgation of anti-Jewish laws to the development of concentration camps, gas chambers and crematoria.  What distinguishes this documentary is that it juxtaposes historic newsreel footage with the drawings, paintings and interviews of artists who were able to document the genocide that they survived.

Compiled over many years, the documentary includes interviews with people who have since died, including Nazi hunter and artist Simon Wiesenthal.  A compelling narration by American poet laureate Maya Angelou offers an artist’s twist on the rise of Hitler: he had initially sought to become an artist, but was rejected by an art school. After he came to power, artists were among his first victims.  “Instead of capturing beautiful landscapes, Hitler captured people.” The cruelty of the Nazi regime “unleashed a new genre of artists,” who documented the abuses and refused to go quietly, according to the narration.

Hilary Helstein’s 70-minute documentary will be shown during the 18th Annual San Diego Jewish Festival at 4:30 p.m., February 14, at AMC La Jolla.  Both Helstein and survivor Dina Babbitt are expected to participate in a program accompanying the showing of the film.
Graphic art, and some music and drama from the victims of the Holocaust are presented during segments on Theresienstadt, the Vilna Ghetto, Auschwitz, and Matthausen.  We witness not only the stories of Jews, but also of Karl Stojka, a Gypsy survivor. 

Some of the survivors whose works, as artists or as role models, are presented in the documentary include Alfred Kantor, Yehuda Bacon, Frieda Dicker-Brandeis, Ela Weissberger, Frederick Terna, Rudy Freidenfeld, Judith Goldstein, Samuel Bak, Freedy Hirsch, Dina Golliebova, Henry Rosmarin and Wiesenthal.  There also is commentary from Tony Award-winning director Tony Kushner on the Brundibar performance that Jewish children were compelled to sing and act in as part of the Nazis’ efforts to hoodwink the world into believing Jews were being well treated under their regime.

As is the problem with Marti, another documentary on an artistic subject, the drawings and paintings flash by on the screen so quickly that one can, at best, achieve a fleeting impression of each piece, rather than a full appreciation.  This, of course, is a problem with the medium.   It would be nice if documentarians in this genre could obtain permission to publish companion books permitting more detailed study of the art.

I believe that this film will prove to be a fine teaching tool in a variety of college classes, perhaps even high school classes.  Helstein deserves credit for assembling her material from many sources.

Harrison is editor and publisher of San Diego Jewish World

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