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Robert Reams - Fish(ing Party)

Film | Digitized | Accession Number: 1996.166 | RG Number: RG-60.5061 | Film ID: 3875, 3876, 3877, 3878, 3879

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    Robert Reams - Fish(ing Party)

    Overview

    Description
    Ambassador Robert Borden Reams was interviewed about American diplomats during a fishing and golfing trip in Panama City, Florida. Ambassador Reams agreed to meet with Lanzmann on the condition that there would be no formal interview, and that topics such as the Bermuda Conference, governmental policies and the State Department during World War II would not discussed. He refuses to tell Lanzmann why he doesn't want to talk about them. Much of Lanzmann's and the Ambassador's time together is spent fishing and golfing, although he eventually opens up to Lanzmann's questions.

    FILM ID 3875 -- Camera Rolls 1-9 Reams interview Peche — 01:00:00 to 01:25:59
    In Florida, several takes of Lanzmann driving to
    Ambassador’s home. 01:05:00 Lanzmann and Ambassador Reams fish, various shots, some takes without sound, some shots include Mrs. Dotty Reams fishing. They do not discuss Reams’ role at the State Department during World War II.

    FILM ID 3876 -- Camera Rolls 10-16 Reams interview Peche — 01:00:00 to 01:13:34
    Various shots of the Ambassador’s home in Florida, “REAMS 130” sign, and Dotty driving a golf cart. Lanzmann golfs with Ambassador Reams and his wife Dotty. They do not discuss Reams’ role at the State Department during World War II.

    FILM ID 3877 -- Camera Rolls 20.24 Reams interview Peche — 00:59:50 to 01:18:28
    Inside the Ambassador’s home, Lanzmann speaks to Reams and his wife Dotty, who are seated in red club chairs. At Lanzmann’s request, Dotty reads the text of a certificate from President Kennedy on the wall in their home. Reams says he is very fond of Lanzmann, but refuses to discuss the topic of diplomatic affairs during World War II; they talk about making good martinis before Lanzmann tries to convince him to relate an anecdote about another person who “took part in this film.” 01:10:18 CR24 Reams addresses his role as Ambassador to Syria. They discuss the roles of Breckinridge Long (Assistant Secretary of State), Cordell Hull, and Sumner Wells and the divisions of the Department of State. They talk about Long’s infamous diary and Hull’s Jewish wife.

    FILM ID 3878 -- Camera Rolls 21-23 Reams interview Documents — 01:00:00 to 01:03:19
    Mute shots of a wall inside Reams’ home with framed diplomatic certificates from Presidents Eisenhower and Kennedy as well as a portrait of Reams during World War II and guns.

    FILM ID 3877 -- Camera Rolls 25-27 Reams interview Peche — 01:00:00 to 01:23:16
    They continue talking about Breckinridge Long and his diary. Dotty was one of Long's personal secretaries. Reams says that Long felt unjustly treated. Reams explains his role in the European Division covering the affairs of Greenland, Denmark, South Africa, as well as the refugee problem. 01:05:28 CR26 Patriotism is very important to Reams. He says he is not an isolationist, rather a realist. 01:11:21 CR27 Reams compliments Lanzmann’s film crew. Lanzmann presses Reams about working on the refugee problem. Reams was made Secretary of the Intergovernmental Committee during World War II. He claims the committee didn’t exist, that he had a title but no power or function. Lanzmann asks what Washington DC was like in 1942 and 1943 for those in positions to make political decisions; for example, what was the meaning of Auschwitz? He doesn’t remember. In the first half of 1942, the Ambassador was interned in Germany dealing with war rations; he had been taken from Denmark with his staff as the Chargés d'Affaires of the American Legation in Copenhagen. In April 1943, Reams was sent as a Representative of the United States to the Bermuda Conference; he does not remember whether he knew that the Warsaw Ghetto Uprising occurred at the same time. He alludes to the fact that he knew what was happening to the Jews of Europe as Chef de Cabinet for Jimmy Burns, but Lanzmann’s questions do not trigger strong feelings or memories from that the time. Lanzmann again asks what the meaning of Auschwitz was for Reams, living peacefully in Washington. Reams says “I simply cannot answer” but admits he’s afraid of an atomic war.
    Duration
    01:40:00
    Date
    Event:  Winter 1978-1979
    Production:  1985
    Locale
    Panama City, FL, United States
    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
    Cinematographer: Dominique Chapuis
    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

    Physical Details

    Language
    English
    Genre/Form
    Outtakes.
    B&W / Color
    Color
    Image Quality
    Excellent
    Film Format
    • Master
    • Master 3878 Film: negative - 16 mm - silent - color - original negative - B-wind
      Master 3875 Film: negative - 16 mm - color - original negative - B-wind
      Master 3876 Film: negative - 16 mm - color - original negative - B-wind
      Master 3879 Film: negative - 16 mm - color - original negative - B-wind
      Master 3877 Film: negative - 16 mm - color - original negative - B-wind
      Master 3877 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3879 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3875 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3876 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3876 Film: positive - 16 mm - workprint
      Master 3875 Film: positive - 16 mm - workprint
      Master 3877 Film: positive - 16 mm - workprint
      Master 3879 Film: positive - 16 mm - workprint
      Master 3878 Film: positive - 16 mm - silent - workprint
      Master 3878 Film: negative - 16 mm - silent - color - original negative - B-wind
      Master 3875 Film: negative - 16 mm - color - original negative - B-wind
      Master 3876 Film: negative - 16 mm - color - original negative - B-wind
      Master 3879 Film: negative - 16 mm - color - original negative - B-wind
      Master 3877 Film: negative - 16 mm - color - original negative - B-wind
      Master 3877 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3879 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3875 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3876 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3876 Film: positive - 16 mm - workprint
      Master 3875 Film: positive - 16 mm - workprint
      Master 3877 Film: positive - 16 mm - workprint
      Master 3879 Film: positive - 16 mm - workprint
      Master 3878 Film: positive - 16 mm - silent - workprint
      Master 3878 Film: negative - 16 mm - silent - color - original negative - B-wind
      Master 3875 Film: negative - 16 mm - color - original negative - B-wind
      Master 3876 Film: negative - 16 mm - color - original negative - B-wind
      Master 3879 Film: negative - 16 mm - color - original negative - B-wind
      Master 3877 Film: negative - 16 mm - color - original negative - B-wind
      Master 3877 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3879 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3875 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3876 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3876 Film: positive - 16 mm - workprint
      Master 3875 Film: positive - 16 mm - workprint
      Master 3877 Film: positive - 16 mm - workprint
      Master 3879 Film: positive - 16 mm - workprint
      Master 3878 Film: positive - 16 mm - silent - workprint
      Master 3878 Film: negative - 16 mm - silent - color - original negative - B-wind
      Master 3875 Film: negative - 16 mm - color - original negative - B-wind
      Master 3876 Film: negative - 16 mm - color - original negative - B-wind
      Master 3879 Film: negative - 16 mm - color - original negative - B-wind
      Master 3877 Film: negative - 16 mm - color - original negative - B-wind
      Master 3877 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3879 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3875 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3876 Film: full-coat mag track - 16 mm - sound - magnetic - workprint
      Master 3876 Film: positive - 16 mm - workprint
      Master 3875 Film: positive - 16 mm - workprint
      Master 3877 Film: positive - 16 mm - workprint
      Master 3879 Film: positive - 16 mm - workprint
      Master 3878 Film: positive - 16 mm - silent - workprint
      Master 3574 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3574 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3574 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3574 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3575 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3575 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3575 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3575 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3576 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3576 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3576 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3576 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3577 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3577 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3577 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3577 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3578 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3578 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3578 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3578 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3579 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3579 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3579 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3579 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3580 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3580 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3580 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3580 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3581 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3581 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3581 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound
      Master 3581 Audio: Audiotape (reel-to-reel) - 1/4 inch - magnetic - sound

    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.
    Film Source
    Claude Lanzmann
    File Number
    Legacy Database File: 5787
    Record last modified:
    2024-02-21 08:04:44
    This page:
    https:​/​/collections.ushmm.org​/search​/catalog​/irn1004818

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