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Hermann Landau

Film | Digitized | Accession Number: 1996.166 | RG Number: RG-60.5007 | Film ID: 3144, 3145, 3146, 3147

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    Hermann Landau

    Overview

    Description
    Hermann Landau talks about the rescue work of Rabbi Weissmandel, as well as rescue efforts based in Switzerland and the U.S. He describes Weissmandel as an increasingly desperate man who would not hesitate to bribe the Nazis or commit violence if it would help the Jews.

    FILM ID 3144 -- Camera Rolls #143-146
    Lanzmann asks Landau about his first meeting with Rabbi Weissmandel in Switzerland immediately after the war. Weissmandel was enraged with those who did not do more to help the Jews, including Landau, whom he physically attacked when they met. They discuss how Weissmandel jumped from the train bound for Auschwitz, leaving behind his wife and children. While in Switzerland Weissmandel took an entire bottle of sleeping pills and was in a coma for several days.

    [CLIP 1 BEGINS] Landau talks about Weissmandel's dealings with Dieter Wisliceny, Adolf Eichmann's deputy. Landau reads from one of Weissmandel's passionate letters about what is happening to the Jews, in which he implores people to send money. They discuss Weissmandel's "Europa Plan." Landau says that they knew, from Weissmandel and from other sources, that the Jews were being exterminated, and that they believed with Weissmandel that money could save some Jews.

    01:21 Film clapboard with ident. Roll NY 146. Landau says that at first Weissmandel's approach to rescuing the Jews was nonviolent but that by the end of May 1944, when the Hungarian Jews were being deported, he had changed his mind and wanted the tracks leading to Auschwitz bombed [CLIP 1 ENDS]. Landau mentions that he (Landau) was a member of the Judenrat in Belgium until 1942, when he escaped to Switzerland. He says of course it was wrong for the Judenrat to give lists of Jews to the Germans but that's what they did. [CLIP 2 BEGINS] Landau reads another letter from Weissmandel.

    FILM ID 3145 -- Camera Rolls #147,148,150,152
    Landau explains the meaning of Kiddush Hashem. Lanzmann asks whether any of the recipients of Weissmandel's letters put in the amount of effort that he was requesting toward the rescue of the Jews. Landau says that a couple called the Sternbuchs, who worked for the Vaad Hatzala, worked day and night on rescue efforts, including on the Sabbath. Landau reads some of the strongly-worded cables the Sternbuchs sent to New York. Landau gives some reasons why the American Jews did not give more money to save the European Jews. He says that many of the organizations involved in relief work did not understand that they must use any means necessary [CLIP 2 ENDS].

    02:22:30 [CLIP 3 BEGINS] Landau talks about the history of the Vaad Hatzala. He says it began as an orthodox organization to save the yeshivas in Eastern Europe and they in fact helped get members of many yeshivas in Lithuania visas to Shanghai via Russia. Vaad Hatzala later worked on rescuing all Jews, not just the orthodox.

    FILM ID 3146 -- Camera Rolls #154-158
    Landau describes Weissmandel's work with Gisi Fleischmann, who as a woman and a leftist was altogether different from Weissmandel [CLIP 3 ENDS]. He describes Weissmandel's coded cables, with instructions to bomb certain cities, and the negative answers these demands received when they were transmitted to the Allies.

    Landau says that after the war Weissmandel still had hope that his wife and children had survived Auschwitz. [CLIP 4 BEGINS] He reads from a letter that was sent to Sternbuch by a relative from Warsaw and deciphers its coded contents for Lanzmann, as an example of how people had to communicate at the time. Landau talks about buying passports for people, which were sent to the ghettos or internment camps [CLIP 4 ENDS].

    FILM ID 3147 -- Camera Rolls #149,151,159 -- 04:00:00 to 04:05:40
    Mute. Landau praying at synagogue and looking through documents with Lanzmann. CUs of a diary in Hebrew and telegrams.
    Duration
    01:40:48
    Date
    Event:  1979
    Production:  1985
    Locale
    New York, NY, United States
    Canada
    Credit
    Created by Claude Lanzmann during the filming of "Shoah," used by permission of USHMM and Yad Vashem
    Contributor
    Director: Claude Lanzmann
    Cinematographer: William Lubtchansky
    Assistant: Irena Steinfeldt
    Biography
    Claude Lanzmann was born in Paris to a Jewish family that immigrated to France from Eastern Europe. He attended the Lycée Blaise-Pascal in Clermont-Ferrand. His family went into hiding during World War II. He joined the French resistance at the age of 18 and fought in the Auvergne. Lanzmann opposed the French war in Algeria and signed a 1960 antiwar petition. From 1952 to 1959 he lived with Simone de Beauvoir. In 1963 he married French actress Judith Magre. Later, he married Angelika Schrobsdorff, a German-Jewish writer, and then Dominique Petithory in 1995. He is the father of Angélique Lanzmann, born in 1950, and Félix Lanzmann (1993-2017). Lanzmann's most renowned work, Shoah, is widely regarded as the seminal film on the subject of the Holocaust. He began interviewing survivors, historians, witnesses, and perpetrators in 1973 and finished editing the film in 1985. In 2009, Lanzmann published his memoirs under the title "Le lièvre de Patagonie" (The Patagonian Hare). He was chief editor of the journal "Les Temps Modernes," which was founded by Jean-Paul Sartre and Simone de Beauvoir, until his death on July 5, 2018. https://www.newyorker.com/culture/postscript/claude-lanzmann-changed-the-history-of-filmmaking-with-shoah
    Some women central to the production of "Shoah" (1985) include Hebrew interpreter, Francine Kaufmann; Polish interpreter, Barbra Janicka; Yiddish interpreter, Mrs. Apflebaum; assistant directors, Corinna Coulmas and Irena Steinfeldt; editors, Ziva Postec and Anna Ruiz; and assistant editor, Yael Perlov.

    Physical Details

    Language
    English
    Genre/Form
    Outtakes.
    B&W / Color
    Color
    Image Quality
    Good
    Film Format
    • Master
    • Master 3144 Film: negative - 16 mm - color - silent - original negative
      Master 3144 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3144 Film: positive - 16 mm - color - workprint
      Master 3144 Video: Digital Betacam - color - NTSC - large
      Master 3144 Film: negative - 16 mm - color - silent - original negative
      Master 3144 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3144 Film: positive - 16 mm - color - workprint
      Master 3144 Video: Digital Betacam - color - NTSC - large
      Master 3144 Film: negative - 16 mm - color - silent - original negative
      Master 3144 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3144 Film: positive - 16 mm - color - workprint
      Master 3144 Video: Digital Betacam - color - NTSC - large
      Master 3144 Film: negative - 16 mm - color - silent - original negative
      Master 3144 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3144 Film: positive - 16 mm - color - workprint
      Master 3144 Video: Digital Betacam - color - NTSC - large
      Master 3145 Film: negative - 16 mm - color - silent - original negative
      Master 3145 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3145 Film: positive - 16 mm - color - workprint
      Master 3145 Video: Digital Betacam - color - NTSC - large
      Master 3145 Film: negative - 16 mm - color - silent - original negative
      Master 3145 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3145 Film: positive - 16 mm - color - workprint
      Master 3145 Video: Digital Betacam - color - NTSC - large
      Master 3145 Film: negative - 16 mm - color - silent - original negative
      Master 3145 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3145 Film: positive - 16 mm - color - workprint
      Master 3145 Video: Digital Betacam - color - NTSC - large
      Master 3145 Film: negative - 16 mm - color - silent - original negative
      Master 3145 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3145 Film: positive - 16 mm - color - workprint
      Master 3145 Video: Digital Betacam - color - NTSC - large
      Master 3146 Film: negative - 16 mm - color - silent - original negative
      Master 3146 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3146 Film: positive - 16 mm - color - workprint
      Master 3146 Video: Digital Betacam - color - NTSC - large
      Master 3146 Film: negative - 16 mm - color - silent - original negative
      Master 3146 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3146 Film: positive - 16 mm - color - workprint
      Master 3146 Video: Digital Betacam - color - NTSC - large
      Master 3146 Film: negative - 16 mm - color - silent - original negative
      Master 3146 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3146 Film: positive - 16 mm - color - workprint
      Master 3146 Video: Digital Betacam - color - NTSC - large
      Master 3146 Film: negative - 16 mm - color - silent - original negative
      Master 3146 Film: full-coat mag track - 16 mm - magnetic - sound - workprint
      Master 3146 Film: positive - 16 mm - color - workprint
      Master 3146 Video: Digital Betacam - color - NTSC - large
      Master 3147 Film: negative - 16 mm - color - silent - original negative
      Master 3147 Film: positive - 16 mm - color - workprint
      Master 3147 Video: Digital Betacam - color - NTSC - small
      Master 3147 Film: negative - 16 mm - color - silent - original negative
      Master 3147 Film: positive - 16 mm - color - workprint
      Master 3147 Video: Digital Betacam - color - NTSC - small
      Master 3147 Film: negative - 16 mm - color - silent - original negative
      Master 3147 Film: positive - 16 mm - color - workprint
      Master 3147 Video: Digital Betacam - color - NTSC - small
      Master 3147 Film: negative - 16 mm - color - silent - original negative
      Master 3147 Film: positive - 16 mm - color - workprint
      Master 3147 Video: Digital Betacam - color - NTSC - small
    • Preservation
    • Preservation 3144 Film: full-coat mag track - 16 mm - polyester
      Preservation 3144 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3144 Video: Betacam SP - color - NTSC - large
      Preservation 3144 Film: full-coat mag track - 16 mm - polyester
      Preservation 3144 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3144 Video: Betacam SP - color - NTSC - large
      Preservation 3144 Film: full-coat mag track - 16 mm - polyester
      Preservation 3144 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3144 Video: Betacam SP - color - NTSC - large
      Preservation 3144 Film: full-coat mag track - 16 mm - polyester
      Preservation 3144 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3144 Video: Betacam SP - color - NTSC - large
      Preservation 3145 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3145 Film: full-coat mag track - 16 mm - polyester
      Preservation 3145 Video: Betacam SP - color - NTSC - large
      Preservation 3145 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3145 Film: full-coat mag track - 16 mm - polyester
      Preservation 3145 Video: Betacam SP - color - NTSC - large
      Preservation 3145 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3145 Film: full-coat mag track - 16 mm - polyester
      Preservation 3145 Video: Betacam SP - color - NTSC - large
      Preservation 3145 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3145 Film: full-coat mag track - 16 mm - polyester
      Preservation 3145 Video: Betacam SP - color - NTSC - large
      Preservation 3146 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3146 Film: full-coat mag track - 16 mm - polyester
      Preservation 3146 Video: Betacam SP - color - NTSC - large
      Preservation 3146 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3146 Film: full-coat mag track - 16 mm - polyester
      Preservation 3146 Video: Betacam SP - color - NTSC - large
      Preservation 3146 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3146 Film: full-coat mag track - 16 mm - polyester
      Preservation 3146 Video: Betacam SP - color - NTSC - large
      Preservation 3146 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3146 Film: full-coat mag track - 16 mm - polyester
      Preservation 3146 Video: Betacam SP - color - NTSC - large
      Preservation 3147 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3147 Video: Betacam SP - color - NTSC - small
      Preservation 3147 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3147 Video: Betacam SP - color - NTSC - small
      Preservation 3147 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3147 Video: Betacam SP - color - NTSC - small
      Preservation 3147 Film: positive - 16 mm - polyester - color - silent - interpositive
      Preservation 3147 Video: Betacam SP - color - NTSC - small

    Rights & Restrictions

    Conditions on Access
    You do not require further permission from the Museum to access this archival media.
    Copyright
    United States Holocaust Memorial Museum, Yad Vashem, State of Israel
    Conditions on Use
    Third party must sign the United States Holocaust Memorial Museum's SHOAH Outtakes Film License Agreement in order to reproduce and use film footage. Contact filmvideo@ushmm.org

    Keywords & Subjects

    Administrative Notes

    Film Provenance
    The United States Holocaust Memorial Museum purchased the Shoah outtakes from Claude Lanzmann on October 11, 1996. The Claude Lanzmann Shoah Collection is now jointly owned by the United States Holocaust Memorial Museum and Yad Vashem - The Holocaust Martyrs' and Heroes' Remembrance Authority.
    Note
    Claude Lanzmann spent twelve years locating survivors, perpetrators, and eyewitnesses for his nine and a half hour film Shoah released in 1985. Without archival footage, Shoah weaves together extraordinary testimonies to render the step-by-step machinery of the destruction of European Jewry. Critics have called it "a masterpiece" and a "monument against forgetting." The Claude Lanzmann SHOAH Collection consists of roughly 185 hours of interview outtakes and 35 hours of location filming.

    Staff-curated clips include:
    Clip 1, Film ID 3144, 01:13:49 - 01:25:30
    Clip 2, Film ID 3145, 02:11:03 - 02:28:24
    Clip 3, Film ID 3146, 03:02:56 - 03:09:54
    Clip 4, Film ID 3146, 03:22:10 - 03:30:18

    Vaad Hatzala was the American-based Orthodox Jewish rescue committee.
    Film Source
    Claude Lanzmann
    File Number
    Legacy Database File: 4740
    Record last modified:
    2024-02-21 07:24:46
    This page:
    https:​/​/collections.ushmm.org​/search​/catalog​/irn1003916

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