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screening auschwitz CULTURAL EXPRESSIONS OF WORLD WAR II INTERWAR PRELUDES, RESPONSES, MEMORY PHYLLIS LASSNER, SERIES EDITOR Screening Auschwitz wanda jakubowska’s the last stage and the politics of commemoration Marek Haltof Northwestern University Press Evanston, Illinois Northwestern University Press www.nupress.northwestern.edu Copyright © 2018 by Northwestern University Press. Published 2018. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging- in- Publication Data Names: Haltof, Marek, author. Title: Screening Auschwitz : Wanda Jakubowska’s The last stage and the politics of commemoration / Marek Haltof. Other titles: Cultural expressions of World War II. Description: Evanston, Illinois : Northwestern University Press, 2018. | Series: Cultural expressions of World War II: interwar preludes, responses, memory Identifiers: LCCN 2017038008| ISBN 9780810136083 (cloth : alk. paper) | ISBN 9780810136106 (pbk. : alk. paper) | ISBN 9780810136090 (e- book) Subjects: LCSH: Ostatni etap (Motion picture) | Jakubowska, Wanda, 1907– 1998— Criticism and interpretation. | Holocaust, Jewish (1939-1945), in motion pictures. | Auschwitz (Concentration camp)—In motion pictures. Classification: LCC PN1997.O68 H35 2018 | DDC 791.4372—dc23 LC record available at https:// lccn.loc .gov/ 2017038008 Except where otherwise noted, this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Haltof, Marek. Screening Auschwitz: Wanda Jakubowska’s The Last Stage and the Politics of Commemoration. Evanston: Northwestern University Press, 2018. The following material is excluded from the license: images For permissions beyond the scope of this license, visit http://www.nupress.northwestern .edu/. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org. contents Acknowledgments vii List of Abbreviations ix Introduction 3 Chapter 1 The Auschwitz- Birkenau Number 43513 13 Chapter 2 “Stalin Was Moved to Tears”: The Script 29 Chapter 3 Return to Auschwitz: The Making of the Holocaust Classic 47 Chapter 4 The Film and Its Reception 75 Chapter 5 Fighting Auschwitz: The Heroic Account of the Camp 101 Chapter 6 Representation of the Holocaust in The Last Stage 121 Chapter 7 The Legacy of Wanda Jakubowska 135 Notes 147 Bibliography 171 The Last Stage: Film Credits 187 Filmography: Wanda Jakubowska’s Feature Films 189 Index 191 acknowledgments I received a great deal of support during the preliminary planning and researching of this project. I gratefully acknowledge the help of North- ern Michigan University in Marquette for supporting my research and this work with a generous grant—the Peter White Scholar Award—and with a sabbatical leave. I benefited greatly from an excellent collection of books at NMU Olson Library— The Holocaust Collection, presented to the university in honor of Lynn Cohodas Stahl and Nancy Cohodas Oberman. Several colleagues at Northern Michigan University assisted in the preparation of this book in many ways at various stages of the work, among them Carol Strauss-Sotiropoulos, Jim McCommons, Gabriel Brahm, Stephen Burn (now at the University of Glasgow), Caroline Krzakowski, and Robert Whalen. Special thanks go to David Boe for his unvarying assistance regarding the complexities of the English language. Also, I am grateful to Ben Talarico and Benjamin Van Howe for their editorial assistance. In the course of researching and writing this book, I received help from numerous individuals. Special thanks go to Adam Wyz˙yn´ski and Krzysztof Berłowski at the National Film Archive (Filmoteka Narodowa) in Warsaw for their kind assistance. In addition, I would like to thank scholars who assisted in the preparation of this book in various ways: Ewelina Nurczyn´ska-Fidelska, Jolanta Lemann, Piotr Zwierzchowski, Mirosław Przylipiak, Michał Oleszczyk, Stefan Czyz˙ewski, and Stuart Liebman. My thanks also to Axel Braisz at the International Tracing Ser- vice in Bad Arolsen in Germany and Diane Afoumado at the Holocaust Survivors and Victims Resource Center (United States Holocaust Me- morial Museum). I am very much indebted to Jacek Lachendro at the Auschwitz- Birkenau State Museum, who generously introduced me to vii its archival collections and supplied me with valuable information. At the museum, I also thank Wojciech Płosa, head of the archive, and Edyta Chowaniec, who is in charge of its audiovisual collection, as well as Paweł Hudzik, head of the State Archive in Katowice, division in Os´wie˛cim. I am very thankful to Professor Alina Madej, Katarzyna Rudomino (Wanda Jakubowska’s granddaughter), and Roman Dziewon´ski (actor Edward Dziewon´ski’s son) for stimulating conversations and help with archival materials. Also, my sincere thanks go to Stuart Liebman and Marat Grinberg— two readers for Northwestern University Press. I extend my sincere gratitude to Phyllis Lassner, editor of the series Cultural Expressions of World War II and the Holocaust: Preludes, Re- sponses, Memory at Northwestern University Press, for her continuous encouragement and scholarly support. viii acknowledgments abbreviations AAN Archiwum Akt Nowych (Archive of Modern Files) AK Armia Krajowa (Home Army) APMAB Archiwum Pan´stwowego Muzeum Auschwitz- Birkenau (Archives of the Auschwitz- Birkenau State Museum in Os´wie˛cim) CKZ˙P Centralny Komitet Z˙ydów Polskich (Central Committee of Polish Jews) CZ˙KH Centralna Z˙ydowska Komisja Historyczna (Central Jewish Historical Commission) FKL Frauenkonzentrationslager (women’s concentration camp) FN Filmoteka Narodowa (National Film Archive in Warsaw) Gestapo Geheime Staatspolizei (Secret State Police) GG Generalgouvernement (General Government; the central part of German- occupied Poland) IPN Instytut Pamie˛ci Narodowej (Institute of National Remem- brance, Warsaw) KL Konzentrationslager (concentration camp) KOS Komisja Ocen Scenariuszy (Committee for the Evaluation of Scripts) KPD Kommunistische Partei Deutschlands (German Commu- nist Party ) KRN Krajowa Rada Narodowa (State National Council) MBP Ministerstwo Bezpieczen´stwa Publicznego (Ministry of Public Security) NKVD Narodnyi Komissariat Vnutrennikh Del (People’s Commis- sariat for Internal Affairs, Soviet Union) NZK Naczelny Zarza˛d Kinematografii (Main Board of Cinema) OUL Okre˛gowy Urza˛d Likwidacyjny (Regional Office for the Liquidation of German Property ix PAP Polska Agencja Prasowa (Polish Press Agency) PISF Polski Instytut Sztuki Filmowej (Polish Film Institute), Warsaw PKF Polska Kronika Filmowa (Polish Newsreel) PKWN Polski Komitet Wyzwolenia Narodowego (Polish Commit- tee for National Liberation) POW prisoner of war PPR Polska Partia Robotnicza (Polish Workers’ Party) PPS Polska Partia Socjalistyczna (Polish Socialist Party) PRL Polska Rzeczpospolita Ludowa (Polish People’s Republic) PWSFTviT Pan´stwowa Wyz˙sza Szkoła Filmowa, Telewizyjna i T e- atralna im. Leona Schillera (Łódz´ Film School), Łódz´ PZbWP Polski Zwia˛zek byłych Wie˛z´niów Politycznych (Polish Union of Former Political Prisoners) PZPR Polska Zjednoczona Partia Robotnicza (Polish United Workers’ Party) RP Rzeczpospolita Polska (Polish Republic) RPPS Robotnicza Partia Polskich Socjalistów (Workers’ Party of Polish Socialists) SS Schutzstaffel (Protective Squadron) START Stowarzyszenie Miłos´ników Filmu Artystycznego START (Society for the Promotion of Film Art START) UBP Urza˛d Bezpieczen´stwa Publicznego (Public Security Of- fice) WFDiF Wytwórnia Filmów Dokumentalnych i Fabularnych (Documentary and Feature Film Studio) ZBOWiD Zwia˛zek Bojowników o Wolnos´c´ i Demokracje˛ (Union of Fighters for Freedom and Democracy) Z˙egota Rada Pomocy Z˙ydom (Council for Aid to the Jews) Z˙IH Z˙ydowski Instytut Historyczny (Jewish Historical Institute) x abbreviations screening auschwitz Introduction This study, about the early screen representation of Auschwitz— the “capital of the Holocaust”1— is a continuation of my previous research that resulted in the book Polish Film and the Holocaust: Politics and Memory, published in 2012.2 That book included a chapter on The Last Stage (1948, also known under the title The Last Stop, Ostatni etap), directed by Auschwitz survivor Wanda Jakubowska (1907– 1998). The film’s cinematic, political, and ideological layers warrant a more detailed monograph. In The Last Stage, Jakubowska depicted the monstrosity of Konzentra­ tionslager Auschwitz- Birkenau and drew on her own camp experiences to portray the factory of death. She made her film with the significant participation of other Auschwitz survivors, including the German com- munist Gerda Schneider, who coscripted the film. With its pioneering, powerful dramatization of the camp experience, The Last Stage established several quasi- documentary themes easily dis- cernible in later Holocaust narratives: the dark, realistic images of the camp (the film was shot on location in Auschwitz- Birkenau); the passion- ate moral appeal; and the clear divisions between victims and victimiz- ers. Jakubowska’s film shaped the future representation of Nazi German concentration camps. It also
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