Lyndsey Stonebridge, a professor of humanities and human rights at the University of Birmingham, is the author of “For some it is an achingly timely masterpiece, for others it is “Holokitsch,” as shallow as the evil it denounces. But whether critics love or hatenot a review goes by without evoking Hannah Arendt’s “banality of evil,” the phrase she used in her controversial reports on the 1961 trial of the Nazi Adolf Eichmann in Jerusalem.
The monstrosity of banality was only partly Arendt’s point. To this extent, Glazer’s film delivers a master class in the aesthetics of Nazi banality. The horror of the ordinary is deftly communicated by the small things — a bloodied boot, a manic dog, a creaking wheelbarrow — as the cameras track through the ugly house and its cartoonlike garden to the acclaimed soundtrack of horror. Stinknormal
Arendt did not think Eichmann — a logistician who delivered Europe’s Jews to the death camps, boasted about it and then in his trial played the part of an appalled cog in the machine — was just like you or me. She argued that the thoughtlessness with which he and others executed their crimes had catastrophically undone the categories in which good and evil could be understood. This is why she always put quotation marks around the word “normal” in her Eichmann reports .
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