Click here for PDF Edition

2018-08-24 digital edition

ABOUT US   |   ADVERTISE   |   DEADLINES   |   PR INFO   |   SUBMIT   |   DELIVERY   |   CONTACT US  |  FEEDBACK
TODAY in the Jewish World:

Click on logo for link:



Click on logo for link:

The Jewish Press of Tampa and the Jewish Press of Pinellas County are Independently- owned biweekly Jewish community newspapers published in cooperation with and supported by the Tampa JCC & Federation and the Jewish Federation of Pinellas & Pasco Counties, respectively. Copyright © 2009-2018 The Jewish Press Group of Tampa Bay, Inc., All Rights Reserved.


 

August 24, 2018  RSS feed
World News

Text: T T T

Ben Kingsley carried photo of Wiesel while filming ‘Operation Finale’

By NAOMI PFEFFERMAN JTA news service


From left, facing the camera, Mélanie Laurent, Oscar Isaac, Nick Kroll and Michael Aronov in a scene from “Operation Finale.” 
Photos courtesy of Metro Goldwyn Mayer Pictures From left, facing the camera, Mélanie Laurent, Oscar Isaac, Nick Kroll and Michael Aronov in a scene from “Operation Finale.” Photos courtesy of Metro Goldwyn Mayer Pictures LOS ANGELES – Ask Ben Kingsley about why he was keen to portray Nazi criminal Adolf Eichmann in the new film Operation Finale and he describes the traumatic childhood incident in which he first learned about the Holocaust.

The 74-year-old British actor was then in grammar school and at home alone when he turned on a documentary about the liberation of the Bergen-Belsen concentration camp.

“I remember my heart stopped beating for a while,” Kingsley, who is not Jewish but believes he may have some Jewish relatives on his mother’s side, said in a telephone interview. “I nearly passed out. And I have been indelibly connected to the Holocaust ever since.”

His connection was even more enhanced when he asked his grandmother about the atrocities, and she said that “Hitler was right” to have killed Jews.


Ben Kingsley stars as Adolf Eichmann in “Operation Finale.” Ben Kingsley stars as Adolf Eichmann in “Operation Finale.” “I went into deep shock and was unable to counter her,” Kingsley said. “But something must have clicked in my innermost soul that said ‘Grandmother, I will make you eat your words. I will pay you back for that. You have not distorted or poisoned my mind.’”

Kingsley went on to portray the Nazi hunter Simon Wiesenthal in the HBO film Murderers Among Us; the Jewish accountant Itzhak Stern in Schindler’s List, and Anne Frank’s father in a 2001 ABC miniseries. He also won an Academy Award for his turn as the titular Indian independence leader in 1982’s Gandhi.

During research for his Shoahthemed films, Kingsley became close friends with Holocaust survivor, activist and author Elie Wiesel. Not long before Wiesel’s death in 2016, the actor vowed to him that “the next time I walk onto a film set that is appropriate to your story, I will dedicate my performance to you.”

So when Kingsley was offered the Eichmann role in Operation Finale after Wiesel’s death – a film now in theatres focuses on the Holocaust architect’s capture – the actor jumped at the chance. Just as he famously carried a picture of Anne Frank during the filming of Schindler’s List, he carried a photo of Wiesel during the filming of Operation Finale.

“[E]very day as promised, I looked at a picture of Elie that I carried in my pocket and said, ‘I’m doing this for you,’” Kingsley said.

Operation Finale tells the story of Peter Malkin and other Mossad agents who covertly hunted and captured Eichmann hiding in Argentina and brought him to Israel for trial in 1961, where he was ultimately executed. The heart of the story is the cat-and-mouse game between Malkin (played by Oscar Isaac) and Eichmann, both of whom were master manipulators, according to the film’s director, Chris Weitz (About a Boy and A Better Life).

(An exhibit by the same name as the film, containing many original artifacts related to the hunt for and capture of Eichmann, recently concluded its run at the Florida Holocaust Museum in St. Petersburg.)

“Each one is trying to convince the other of something,” Weitz said in a telephone interview. “Malkin wanted to convince Eichmann to sign a paper indicating that he was willing to go to trial in Jerusalem. And Eichmann is trying out various defenses that he will eventually use in Israeli court. So, in that regard there is the subterfuge of the escaped war criminal and also the subterfuge of the spy as he’s trying to turn a source.”

As for Eichmann, Weitz said, “I think the evidence shows a very chameleon-like figure who is constantly trying to serve his own ends and ambitions.”

Kingsley unabashedly sees his character as evil.

“What other adjective can you use?” he asked. “Not only did he commit these crimes as an architect of the Final Solution, he went to his grave proud of what he had done – utterly unrepentant.”

Yet Kingsley said he chose not to portray Eichmann as “a B-movie, cartoony, comic strip villain.”

“That would have done a terrible disservice to the victims and the survivors I know and love,” he said. “It’s important for us to accept, to stomach and to swallow that the Nazis were men and women – ‘normal’ people. Twisted people, but they didn’t come from Mars.”

Weitz, 48, had his own personal connection to the material. His father, the fashion designer John Weitz, escaped Nazi Germany in 1933 at the age of 10. Nine years later he arrived in the United States and later became a spy for the OSS, the precursor of the CIA. He interrogated Nazi war criminals and helped liberate Bergen-Belsen, “which forever changed him,” his son said.

The filmmaker grew up with his father’s war stories and ultimately helped the patriarch write multiple books about Nazi war criminals.

As research for the film, both Weitz and Kingsley relied in part on the expertise of former Mossad agent Avner Abraham, who the curated the museum exhibition about Eichmann. (Avner was guest speaker at this year’s annual To Life dinner put on by the Florida Holocaust Museum)

Weitz eschewed photographing the famed glass booth in which Eichmann spent his trial – a part of the exhibition – because he feared that might be “blasphemous.”

The director also said he had “endless trepidations” about depicting images of the Holocaust, and so chose to do so through the lens of the Mossad agents’ memories.

“The agents’ memoirs indicate that they all found it deeply unsettling to be so near the person who had taken part in the murder of their families,” Weitz said. “Some of them were disappointed that all this evil could have the face of this rather unprepossessing man, which felt terribly out of scale to all the damage that had been done.”


Post new comment

The content of this field is kept private and will not be shown publicly.
CAPTCHA
This question is for testing whether you are a human visitor and to prevent automated spam submissions.
Click ads below for larger version