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Die Grauzone Tim Blake Nelson, USA 2002 FSK Ab 16 Jahren, IKF-Altersempfehlung Ab 16 Jahren

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Die Grauzone Tim Blake Nelson, USA 2002 FSK Ab 16 Jahren, IKF-Altersempfehlung Ab 16 Jahren Die Grauzone Tim Blake Nelson, USA 2002 FSK ab 16 Jahren, IKF-Altersempfehlung ab 16 Jahren Film-Heft von Bernhard André und Andreas Kilian DIE GRAUZONE Kann ein reales Drama, ein Drama, das sich so furchtbar kein Schriftsteller, kein Dichter ausdenken könnte, künstlerisch bearbeitet, ästhetisch reformuliert und dramatisiert werden? Ein reales Drama, das alle Kunst auslöscht. Denn bei der Kunst geht es im Kern um Menschlichkeit, um Mitmenschlichkeit. Dieses Drama aber hat sich jenseits des Menschlichen ereignet. Ein Drama des Unmenschlichen kann daraus ein Stoff werden? Kann die Todeszone des maschinellen Mordens zum Spielort werden? Als Dokument erschüttert es alles: Was sind wir denn, ohne Kultur, ohne Empathie, ohne Miteinander? Die Todeszone, die Mordmaschinerie der organisierten Menschen- vernichtung, dokumentiert das Grauen. Diese Dokumentation und diese Überlieferung sind Bestandteile unserer Geschichte und Kultur als schwarzer Schatten auf der Mit- menschlichkeit unseres Zusammenlebens. Das Gedenken, das Trauern um das verlorene Versprechen, das die Menschen sich vor Auschwitz waren, sind Teil unseres Lebens. Der Ort und seine Geschichte, die mit ihm verbundene Vorstellung, bleiben auch in der Spielhandlung Anklage. Bleibt in der Spielhandlung die Unerträglichkeit? Horst Walther Leiter des Instituts für Kino und Filmkultur Die Autoren Bernhard André ist Filmjournalist und Medienreferent und lebt in den Niederlanden. Er hat Inhalt, Figuren, Problemstellung, Filmsprache, Sequenzprotokoll, Beispielanalyse, Dialoge, Fragen und Materialien/Regisseur verfasst sowie Filmzitate und Literaturhin- weise ausgewählt. Andreas Kilian ist Historiker, Leiter eines Fachverlags und Gründer des Internetportals www.sonderkommando-studien.de. Er hat Materialien/Miklós Nyiszli und Materialien/ Die jüdischen Sonderkommandos verfasst sowie Originalzitate und Literaturhinweise ausgewählt. Impressum: Herausgeber: INSTITUT für KINO und FILMKULTUR (IKF) im Auftrag von BFILM Verleih in Kooperation mit LEGEND FILMVERLEIH Redaktion: Verena Sauvage, Horst Walther Redaktionelle Mitarbeit: Holger Twele (auch Satz und Layout) Titel/ Grafikentwurf: Mark Schmid Druck: Concept Verlag & Werbeagentur GmbH, Berlin Bildnachweis: BFILM, Karl Dietz Verlag © Januar 2005 Anschrift der Redaktion: Institut für Kino und Filmkultur, Mauritiussteinweg 86-88, 50676 Köln Tel.: 0221 397 48-50 Fax: 0221 397 48-65 E-Mail: [email protected] Homepage: www.film-kultur.de Die Grauzone The Grey Zone USA 2002 Buch und Regie: Tim Blake Nelson Kamera: Russell Lee Fine Schnitt: Tim Blake Nelson, Michelle Botticelli Musik: Jeff Danna Darsteller: David Arquette (Hoffmann), Lisa Benavides (Anja), Daniel Benzali (Schlermer), Steve Buscemi (Abramowics), David Chandler (Rosenthal), Allan Corduner (Dr. Nyiszli), Kamelia Grigorova (Mädchen), Harvey Keitel (Oberscharführer Muhsfeldt), Natasha Lyonne (Rosa), Mira Sorvino (Dina) u. a. Länge: 104 Min. FSK und IKF-Altersempfehlung: ab 16 Jahren Verleih: BFILM Film-Heft ... 3 DIE GRAUZONE Inhalt Der Film spielt im Herbst 1944. Ort der Handlung ist die Todes- zone des Konzentrationslagers Auschwitz- Birkenau. Eine Gruppe von Häftlingen plant einen Aufstand. Als Angehörige des Son- derkommandos sind sie zur Arbeit in den vier Krematorien gezwungen. Sie führen die Opfer in die Gaskammern, beruhigen sie, sind ihnen beim Auskleiden behilflich und verbrennen anschließend ihre Leichen. Auch einige Zwangsarbeiterinnen der nahe gelegenen Munitionsfabrik sind am Wider- stand beteiligt. Sie schmuggeln Schieß- pulver ins Lager. Die Zeit drängt. Beinahe täglich erreichen nießt, drei der Häftlinge und das Mädchen neue Transporte das Lager, werden Zehn- vor dem Tod zu bewahren. Dann bricht tausende ungarischer Juden in die Gas- unvermittelt der Aufstand los, in dessen kammern geschickt. Dann überschlagen Verlauf es einigen Sonderkommando-Häft- sich die Ereignisse. Der Pulverschmuggel lingen gelingt, die Krematoriumsöfen zu wird entdeckt und in der Gaskammer fin- sprengen. So plötzlich, wie er begonnen den die Häftlinge ein Mädchen, das noch hat, ist der Aufstand wieder vorbei. Das lebt. Was soll mit ihr geschehen? Lebend Mädchen wird gezwungen mit anzusehen, gefährdet sie den Aufstand, doch töten wie die Überlebenden von der SS exeku- können sie die Männer nicht, nicht nach- tiert werden. Als sie weglaufen will, wird dem sie das Gas überlebt hat. Bevor eine auch sie erschossen. Lösung gefunden ist, werden sie aufge- spürt. Zwischen dem jüdischen Häftlings- Am Ende des Films sind wieder Häftlinge arzt Dr. Nyiszli und dem SS-Oberscharfüh- bei der Arbeit. Es ist ein neues Kommando. rer Muhsfeldt beginnt ein subtiles Erpres- Während sie die Leichen der Aufständi- sungsspiel. Es gelingt Dr. Nyiszli, der von schen verbrennen, hören wir die Stimme dem SS-Arzt Dr. Mengele als Assistent des Mädchens: Und so geht die Arbeit gebraucht wird und gewisse Privilegien ge- weiter. 4 ... Film-Heft Figuren Alle Figuren basieren auf historischen Dr. Nyiszli (authentischer Name) wird Personen. Die Charaktere sind jedoch im Film als Kollaborateur charakterisiert im Hinblick auf die Dramaturgie des Films und steht im Kontrast zu den Aktivisten mehr oder weniger künstlerisch ausge- des Widerstands. An seiner Figur wird staltet. die Frage, inwieweit ein Mensch unter Zwang noch für sein eigenes Handeln verantwortlich bleibt, problematisiert. Abramowics gehört zum überwiegend aus polnischen Juden zusammengesetz- Oberscharführer Muhsfeldt (authenti- ten Sonderkommando im Krematorium 3 scher Name) ist Leiter der Krematorien (K3). Als Ungar ist er der Verbindungs- 1 und 2. Die Charakterisierung der Film- mann zur Widerstandsgruppe im Krema- figur stimmt nicht mit der historischen torium 1 (K1). Ein ausgeprägter Zyniker, Person überein, sondern dient der Dar- der dem grausamen Geschehen um ihn stellung eines bestimmten Täterpro- herum mit Spott und Ironie begegnet. fils. Die Dialoge gehen zurück auf die Sein Motiv für den Widerstand ist die Autobiografischen Aufzeichnungen Hoffnung auf Flucht und ein Leben da- von Rudolf Höß, erster Kommandant nach. des Konzentrationslagers Auschwitz. Schlermer, Vaterfigur, ist der Älteste des Anja, Rosa und Dina basieren in Umris- Widerstands im K1. Er bewahrt immer sen auf vier historischen Personen aus die Ruhe, nicht zuletzt, weil er mit sei- dem Frauenlager in Auschwitz-Birkenau. nem Leben innerlich abgeschlossen hat. Charakterisierung und Dialoge sind rein Er glaubt an die Solidarität unter den jü- fiktiv. Auch die meisten Details der Hand- dischen Häftlingen. Seine Motivation für lung B (siehe Sequenzprotokoll) sind frei den Widerstand ist die Vernichtung der erfunden. Maschinerie. Das Mädchen, die Filmfigur basiert auf Rosenthal gehört zum Widerstand im K1. historischer Überlieferung und dient als Er hegt Ressentiments gegenüber den Projektionsfläche für die Handlungsräu- polnischen Häftlingen und will vor allem me in der Grauzone. Die Konfrontation die Vernichtung seiner ungarischen Lands- mit dem Individuum und seinem Leiden leute stoppen. Erst durch das Mädchen zieht das Problem menschlichen Han- wird er sich seiner Menschlichkeit wie- delns unter unmenschlichen Bedingun- der bewusst. gen nach sich. Hoffmann, philosophische Leitfigur, ver- deutlicht das moralische Dilemma in der Grauzone. Der Vorwurf der Mittäter- schaft führt angesichts der eigenen Ohn- macht zum Kurzschluss. Er erschlägt den alten Mann. Film-Heft ... 5 DIE GRAUZONE Problemstellung Im Zentrum der Vernichtung Tod. Für Letztere waren allein Art und Auschwitz hat sich als Syno- Zeitpunkt ihrer Ermordung ungewiss. nym für den nationalsozialistischen Mas- Die Handlung spielt im Herbst 1944. Am senmord an den europäischen Juden ein- 7. Oktober, wenige Monate vor der Be- geprägt. Das Konzentrationslager wurde freiung des Lagers am 27. Januar 1945, 1940 am Rande der polnischen Kleinstadt fand der einzige bewaffnete Aufstand ei- Oswiecim (Auschwitz) errichtet und be- nes Sonderkommandos in Auschwitz reits ab Herbst 1941 in die Vernichtungs- statt. strategie einbezogen. Ab Mitte 1942 wurde Auschwitz zum zentralen Deportationsziel bei der Durchführung der Endlösung der Die Grauzone Judenfrage. Im selben Jahr begann im Mehr noch als die Asche der verbrannten Rahmen der Aktion Reinhardt die Er- Leichen schuf die Perversität des Ortes, mordung der polnischen Juden in den ei- an dem der Mord am laufenden Band gens dafür geschaffenen Vernichtungsla- den einzigen Lebensinhalt darstellte, eine gern Belzec, Sobibor und Treblinka. Dane- Grauzone. So betitelte Primo Levi, ben existierten noch zwei weitere Ver- Überlebender von Auschwitz, seinen Es- nichtungslager in Chelmno und Majdanek. say über das Verhältnis von Tätern und Auschwitz entwickelte sich bis 1944 mit Opfern im Zentrum der Vernichtung (vgl. dem Stammlager Auschwitz I, Auschwitz- Levi 1986). Er beschrieb die Grauzone als Birkenau (Auschwitz II), Auschwitz-Mono- einen Grenzbereich und Handlungsraum, witz und den zahlreichen Nebenlagern mit in dem die Trennungslinie zwischen Täter bis zu 135.000 Häftlingen zum größten und Opfer verschwimmt und moralische der rund 2500 von den Nationalsozialisten Kategorien das Geschehen nicht mehr er- bis 1945 gebauten Konzentrations- und fassen können (vgl. Presseheft zum Film, Arbeitslager. Nach dem Ende der Aktion S. 17). Reinhardt im Sommer 1943 wurden die Die Sonderkommando-Häftlinge sahen sich Vernichtungskapazitäten in Auschwitz- dem denkbar schlimmsten moralischen Birkenau durch den Bau vier hochmoder- Dilemma gegenüber: Das eigene (Über-) ner Krematorien erweitert. Der Massen- Leben
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