There is no denying greatness.
Based on the true story of historian Deborah Lipstadt, and the book she wrote about the incident, the new film Denial is an at times deeply unsettling movie about both the power and limitation of facts. Directed by Mick Jackson and featuring Rachel Weisz as Lipstadt, it is as much a triumph of storytelling as it is a repudiation of hatred.
From the moment it opens, Jackson's film unsettles the audience, with Lipstadt asking a group of students how they would go about proving the Holocaust occurred; that Jewish people were murdered on a grand scale. There is, she reminds her students, no photographic evidence. It is a moment that instantly startles those watching – could she be suggesting that it didn't happen; how would we defend our own certainty of its occurrence?
As becomes clear, Lipstadt is not denying the Holocaust, she is instead an author of a book about the denying of the Holocaust and those who pursue such falsehoods. In the work, amongst other things, she calls out David Irving (Timothy Spall) for his efforts to deny the truth of what the Nazis did during the Second World War. The effect of this is that Irving sues her for libel and, according to the setup of the British legal system, rather than Irving needing to prove that Lipstadt lied, she must instead prove that she has written the truth. And so, the movie unfolds with Lipstadt hiring a solicitor, Anthony Julius (Andrew Scott), who puts together a team, including barrister Richard Rampton (Tom Wilkinson), and an incredibly engrossing trial.
Despite it taking place from 1994 to 2000, it is difficult to watch Denial and not see within it a reference to today's modern political climate in the United States. Remarks are made about deniers being right but it simply not being politically correct for such statements to be made, and that not all opinions are equal (those bolstered by facts as opposed to falsehoods being worth more). There are questions of legitimizing hatred and why anyone would pursue the sort of folly Irving goes after. Viewed through such an inescapable lens, Denial is not just about building a case to prove history, it is about proving the importance of truth and facts and knowledge.
Wonderfully though, Jackson makes sure to point out the negatives of the those who are correct as well – being right isn't enough, the way in which one pursues their belief is important. This is seen in more than one way, including in the hatred spewed on the street outside the court from people on both sides of the argument, and while the skinheads are easy to identify and point out, those who hate Irving may not be as easily spotted but can be just as vicious.
More than anything though, Denial is a movie heavy on talking and through that talking, emotion. David Hare has written a cracking screenplay and Jackson's cast delivers each line with gusto. Scott, who may be most familiar to audiences for playing villains, gets to stand on the side of justice here, offering insights into the British legal system for Lipstadt, the American neophyte, and breaking down the importance of the case. Wilkinson, too, is incredible as an outwardly staid barrister who pursues his work with vigor. Spall's Irving may be written slightly too broadly to be quite as scary as he could be, but he still delivers some chills.
Weisz though is in top form, standing above them all. Lipstadt is beset on all sides, from all parties – her lawyers wish to pursue the trial in a manner she doesn't, people who do believe in the Holocaust would have her settle, survivors want their stories told. The audience watches with rapt attention as Lipstadt listens, digests, and struggles with what she is seeing, what she is being told, every moment visibly striking her as she struggles to remain standing and win the day.
Because Denial is so big on talking, the moments where it stops and reflects, particularly when Lipstadt and company are at Auschwitz, are all the more powerful. Jackson delivers the scenes with not just reverence for the location, but imparts the salient points the movie needs as well.
The biggest missteps in Denial are a couple of awkward scenes late in the going, one with a young member of the legal team discussing the importance of the case and the other a heartfelt chat between Rampton and Lipstadt. Both moments feel like they are included to strengthen the filmic drama as opposed to contributing anything truly genuine.
The Verdict
There are an incredible number of movies that have been made about the Holocaust and its aftermath. Denial rates with the best of them, digesting and presenting complex issues with nuance. Complete with powerful performances, an important message, and a reflection on today's world, Denial is a movie that drives home its point with all the power and depth movies can bring.
Editors' Choice
→
Aucun commentaire:
Enregistrer un commentaire