Murmelstein's opponents in these events are uniformly presented as small-minded and devious, even as the film -- and Murmelstein -- affect a modest sense of irony and self-criticism. Yes, in his humility, Murmelstein manages to be quite self-aggrandizing.
To the casual observer, the documentary film The Last Of The Unjust is very much of a piece with director Claude Lanzmann's masterpiece Shoah (1985). But for those intimately familiar with that movie, this is a subtly radical departure.
The first few days of the Cannes Film Festival have been marked by surprises -- whether in the shifting national identity of movies, or peace-making efforts between towering directors -- and parties that defy the rain.
The Patagonian Hare is full of Lanzmann's cloying self-regard, but we accept it for the single reason that he created Shoah, his 1985 documentary about the Nazi war against the Jews, one of the masterworks of cinema.
How can a man of his character put on a show of such capriciousness--one day signing a petition calling for France to intervene, and then, just four weeks later, condemning the same intervention and betraying his own signature?
"No one survives an extermination camp. These two are miracles. They are ghosts. Notice that they never speak in terms of 'I' but in terms of 'we'. They are spokespeople for the dead. They are martyrs, heroes, saints."
Larry was intellectual, literary, and one of the most brainy artists of his generation, but there was always the feeling in the art world that the more intellectual the artist, the less talented the painter.