A chilling, heartbreaking testament to the strength and suffering of the Jewish people and the courage and heroism of those who came to their aid. With beautiful narration by Orson Welles ... See full summary »
Using previously unreleased archival material in addition to contemporary interviews, this academy award-winning documentary tells the story of the Frank family and presents the first ... See full summary »
Five Jewish Hungarians, now U.S. citizens, tell their stories: before March, 1944, when Nazis began to exterminate Hungarian Jews, months in concentration camps, and visiting childhood ... See full summary »
Eva Mozes Kor, who survived Josef Mengele's cruel twin experiments in the Auschwitz concentration camp, shocks other Holocaust survivors when she decides to forgive the perpetrators as a way of self-healing.
Isaac Stern's cultural tour of China is seen, with the master violinist performing and mentoring young Chinese musicians. He visits rehearsals of the Peking Opera, meeting with their ... See full summary »
The latest production of Moriah Films is It Is No Dream: The Life of Theodor Herzl, exploring the life and times of Theodor Herzl, father of the modern state of Israel. Narrated by Academy ... See full summary »
As Maya Angelou narrates this powerful documentary, she reveals the story of a brave group of people who fought Hitler with the only weapons they had: charcoal, pencil stubs, shreds of paper and memories etched in their minds.
Aaron Simon Gross
Fact based story about a former Greek Olympic boxer who was taken as a prisoner during World war II and placed in the Auschwitz prison camp. There he was permitted to survive as long as he ... See full summary »
Robert M. Young
Edward James Olmos,
A chilling, heartbreaking testament to the strength and suffering of the Jewish people and the courage and heroism of those who came to their aid. With beautiful narration by Orson Welles and Elizabeth Taylor the film begins by providing a look at the flourishing Jewish community in pre-war Europe and then traces their grim trajectory through the ghettos, camps, and prisons of the Nazi regime, introducing the lost victims and brave heroes along the way. Written by
The film was originally designed to be presented in a multi-screen format at a Los Angeles museum, with one 35mm projector, two 16mm projectors, and 18 slide projectors. Only after completion was it reformatted to be shown in standard film theaters. See more »
Takes some historical liberties, but for a good cause
If only one documentary film of the holocaust should be preserved, this is probably it. Riveting in its content, rich in its emotion, and outstanding in its technique, this film flirts with greatness. Indeed, the moving narration provided by both Elizabeth Taylor and Orson Welles is among the most impassioned, most heartfelt, in cinematic history.
Alas, despite its overall excellence, the film must be "marked down" because of its apparent disregard for internal consistency. Don't get me wrong - everything (and more) of what it recounts is factually true. And all of the documentary evidence it presents is as real as the screen you're looking at. No, what bothered me was the tendency over and over again for the filmmaker to use photographic material inaccurately. So, for example, to help paint the picture of the Holocaust on the Eastern Front, we are presented with multiple black and white photographs of hangings. The trouble is that many of the photos were neither of Jews nor of the Holocaust. They were of partisans and commissars (also hunted and slaughtered by the Nazis). Likewise, while the narration describes an 'aktion' in Lithuania, the photos we see are from assaults on Jewish women in Lvov. I could go on, but think you get the idea.
Again, please don't misinterpret me. I am not at all challenging the general veracity of the film nor the importance of its message. My quarrel is, simply, that too many of the illustrations used to complement the narrative are out of place and inaccurate. By and large, this probably makes little difference to things overall (whether someone was murdered in 1943 or 1944, and whether by hanging or by a bullet to the back of the neck, is irrelevant in the total enormity of the Holocaust). However, given the reality of revisionists and deniers, the last thing one would want to do, especially when making a film that in some sense "proves" the Holocaust, is to give the disbelievers any ammunition for their perverted cause. Frankly, I'm distressed by such careless selection and use of photos. I fear that this could cost the film credibility - credibility in the eyes of those who most need to have them opened.
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