There are certainly plenty of documentaries dealing with World War II, the Nazis, the Holocaust and its legacy, so it’s sometimes unclear what new perspective can be added. The Decent One focuses on Heinrich Himmler, the head of the SS and one of the most senior Nazi figures, the one probably most responsible for the Holocaust, so the title at one level is of course bitterly ironic. And yet the film takes its material from his personal letters and archives found at his home, which indicate he was (at times) a loving and respectful father, even if not the most constant husband. Actors read from these documents in chronological order, with title cards giving some context, while on the image track we see archival footage which illustrates the ideas being discussed, or hint at significant events that were happening at the same time. It’s a straightforward and restrained means to present an insight into what inevitably draws one’s mind to Hannah Arendt’s quote about “the banality of evil”, as tender letters to his wife cede over time to discussions of his role within the Party, or quotidian bitterness towards Jewish members of the community. A sense of the growing unease within the country during the 1930s comes as Himmler responds testily to requests from his father to look into summary arrests of friends and local community members around their home in Gmund. The chief manipulation that the filmmakers seem to have made here is to add sound effects to the documentary footage, which I’m sure opens up all kinds of professional arguments, but does at least make the footage a little more immediate (even if at times it seems in bad taste, as when we see grainy footage of mass executions). It’s never really possible (maybe it’s just not possible at all) to get a sense of the magnitude of what Himmler and the Nazis did, but The Decent One does give a small sense of how apparently easy it was for ideological motivations within everyday life to become dangerously twisted.
Director Vanessa Lapa; Writers Lapa and Ori Weisbrod אורי ויסברוד; Cinematographer Jeremy Portnoi; Length 94 minutes.
Seen at Ciné Lumière, London, Monday 27 April 2015.