Focus 2003.tif


140 Forn! on Glrman Stlldiu 

Schlueter, June. The Ploy! and Nove" of Peter Handk!. Piltsburgh: UniversilY 
of Pittsburgh Press, 1981. 

Sergooris, Gunther. Peltr Handke 'md dit SpracDt. Bonn: Bouvier Verlag 
Herben G rundmann, 1979. 

Summcdie!d, Ellen. "Die Kamera als ti('c[llrisches Mine!. Zu Peter I-Iandkes 
Die Angst du TormamJJ bdm E!lmeter." Modem AJlIman Literatltre 12.1 
(1979):95-112. 

Thuswaldner. Werner. SprtuhccptrimlHl IlIId Darbilhm,gstxptrimtlll bei PileI' 

Handh. PrwaiundTmon"t, Phil%phie. Salzburg: Alfred \'(IimeI, 1976. 
Vannarm, Dennis. ''Wittgenscein, Handke's The Goalie's Anxit!J allhl Pmo/!J 

Kid~, and the Language of Madness." Tiu Literary &lIim; 28 (1985): 
606-616. 

Vollmer, l\[ichad. Das !!ruhu Spiel Spradx lind /II(JiI1'dualitiil bei mtt/rich 

N~tz$(ht Imd Peter Handh. \'(luo:burg: KOnigshausen und Neumann, 
1995. 

White, John. "Signs of Disturbance. The Semiological Import of Recent 
Ficrion by Michael Toumier and Peter Handke." jOllrnal oj European 
Srudies-+ (1974): 223-25-1. 

Theatrics of Sou nd in Nfarcel Ophuls' 
November Days a nd Hotel Terminus 

Avi Kempinski 

I n the documenrary work of Marcd Opbuls much can be said 
about /!lilt-en Hint, thai cinematic aspect which Timo thy Co rrigan 

defines as a "theatrics of space as that space is conSUUCl(:d for (he 
camera" (52). Wlla[ distinguishes Ophuls' ",ist-en Jcine, however, 
is the rrequent juxtaposItion or and interplay belween a "theatrics 
of space" and what I posit here as a "theatrics of JOlII/d': Ophuls' 
strategic and provocative use of diegetic and non-dicgeuc audio. 
The use of sound, 1 suggest, adds a crucial layer to the spatial 
composiljon of the tWO fi lms under discussion here, No/ltnJlnr DtqJ: 
Voim and Choim (1990) and HOlelTermirllu: Ibe Lift alld 1iflJel of KMll! 

Barbie (1988).1 Through an analysis of such a theau:ics of sound , 
Ophuls' documentary techniques, and his work as a whole, can be 
more richly interpreted and understood.1 

Not'fmiJtr DtqI was commissioncd and firs( broadcast by BBC 2 
to mark the one-year ann iversary of the opening o f the Berlin Wall. 
In the documentary, O phuls interviews many o f the same people 
who months carlier appeared in BBC news footage of the events of 
Ocmber and November 1989. Addmg historical contexl, the film 
also includes in~depth ilHerviews with leading political and culrural 
figures, such as Ega n Krenz, Heiner MuHer, and Stephan l-I ermlin.3 

H ote/Terminus, completed tWO years earlier, is a four-hour sleuth-like 
investigative work that explo res the career of Klaus Barbie, head of 
the German Security Police (SIPO-SD) III occupied France, where 
he was known as " rhe bu(cher of Lyons." Through interviews with 
his aC(llmintances, comrades, victims, and apologists, the film traces 
Barbie's life from boyhood to old age, with locations ranging from 



142 Focus on GUnlan Studies 

Praoce and Germany [0 South America and the U.S.~ 
Although the films differ significantly in several manifest 

ways (subject matter; location; the manner in which they wen!: 
commissioned; and film length), the repeated presence of a meaLDCS 

of sound--<ombining layers of rext, video, and audio-give me [\\'0 

documentaries an unmistakable sense of continuity. 

n 

Marcel Ophuls is not a filmmaker easily categorized, nor are hlS 
works. He is best known for his monumental The Sorrow alld the Pi!! 
(I.....t (hagrin tt Ia pitie: Chronique d'Ullt villt franraiIe J01(J 1'0((IIpalioll, 1969), 
a four-and-a-half-hour work that "changed the an of documenr.ary 
filmmaking." Ian Summa, who makes this claim, describes this 
film's point of deparnlre: 

Instead of me usual mixture of documentary 

footage and the narrator's voice, Ophuls offers 
hism[y as a set of conAicung eyewitness accounts. 
He rums the talking head mto an an form. (22-1-

25) 

But by offering history through "conflicting eyewimess accounts"­
and whereby "his subjects say more than (hey mean 10, and their 
discomfort is one of his tools" (Camo.r 45)-Ophuls conclusively 
destroyed the myth of French resistance du ting World War 11 and 
unexpectedly revealed tha t France, tOO, was undergOing its own 
version of Vtrgan,genheiIJbewiiIJiglillg. Bur even in this dark film of 
dark rimes a glimpse of what Nora Alter terms "musical comedy" 
was already evident. "Thus," writes Aber, 

in the often grueling The Sorrow and the Pi!], music 
emers as ironic commenrary in the fi nal scene with 
Maurice Chevalier, the prototypical Frenchman, 
singing with his patented nonchalance: "Let the 
whole world sigh or cry / 1'11 be up on a rainbowl 

Sweeping the clouds away." ("Ophuls" 35) 

The:ancs of Sound 143 

The use here of popular song through Chevalicr-"jnvariably 
ebullient, bouncy and mindlessly optimistic,")-is not only an 
example of a technique o r device, thar is, a purely nonie audiovisual 
"Insertion" as discussed by Alter in reference to November DayJ, but 
goes to the heart of the enure Ophulsian prolect. Rather than JUSt 
taxing and lengthy treaunents of acrnal events du ough interviews, 
Ophuls' films are, according to Ric hard Ponon, "critical essa}'s 
thal anempt to prevent the erosion of histOrical memory." (Ophuls, 

"Troubles" 8) 
Although the largely unexamined tag "clocumemary" IS almost 

always anachecl to Ophu ls' works dating from his path breaking 
The Sorrow and Jhe Pi!!, a more fi tting designauon would, 111 facl, be 
"essay" and, above all, the concept of ''Essay Fllm." Whereas the 
influentia l modes of documentary developed by the film theorist 
Bill Nichols (Expository, Observational, Imerncuve, ReAex.ive:, 
and Pe:rformative) are helpful-through its schematization of the 

genre-in identifying speCific (and chronological) stages 111 Ophuls' 
developmen t as a fi lmmaker, essay fi lm offers a more inclusive and 

conclusive conceprua1 modd. 
In brief, Nichols sees all modes of documentary (from the 

work of Jo hn G rierson in the late 1920s) as essentially arising 
as a "response to fic tion," that is, to rhe "absence of 'reality'" in 
llo llywood films (9+-5). t-. lore will be said of Ophuls' complex and 
rich connecuon to Hollywood; in reply 10 Nichols, however, Ophuls' 
project is far less a response to me absence of 'reality' in HoUywood 
than a response to rhe absence, indeed abnegation, of 'spectacle' 

(i.e., Il oUywood) in documentary. 
N ichols' categories, each of which subsumes aspects of 

previous ones, can be 10 some extent applied to Ophuls. f"o. losr 
suggestive is Nichols' notion of performauve documcmary: 

This window-hke quality of addressing the 
historical world around us yields to a variable 
mix of expressive, poetic, and rhetorical aspects 
as new dominants [ ... }111is shift blurs yer more 
dramatically the already imperfect boundary 

between documentary and fiction. It also makes 
the viewer rather than (he historical world a 



144 Fonii on German Srudiu 

primary ceferenL (94) 

The ead y example from The Sorrow and 'he Pity. where mixing and 
blurring "expressive, pOttle, and rhetOrical aspects" through, for 
exunple, CheV2lier singing '1 don't care what's down below/ Let 
it rain/ Let it snow/ J'U be up on a rainbow,! Sweeping the clouds 
away" in the closing momenrs of a film on collaboration, is unsen ling, 
placing the viewer (and listener) in the uncomfortable space between 
"documentary and ficrion." In NOt'elf,btT D'91, performance is even 
moce evident through Ophuls' cajoling his ilHernewees as though 
he were a director on the set of a feamce film, rather [han simply 
engaging his interlocutor in conversation. 

As noted earlier, morc satisfying in offering a conceprual 
grasp of this ofren disturbing jllxraposition berween the severiry of 
documc=nrary subject and its discordant sounduack is the concept 
of essay film. In her overview of the genre, Alter sees essay film as 
a "hybrid medium which falls berween, and to an extent combines, 
me N'O dominant film categories: fearuee film and documenrary" 
C'Essay Film" 262). Furmer, and with [he closing scene of Ophuls' 
occupation documentary in mind, the essay film 

readdresses, from a new audiovisual perspective, 
several basic questions raised by earuer 
forms of CLnema about the tension between 
verisimilirude (documemed reality) and anifice 
(free imagination) ... and calling into question all 
simplifying binary categories of representation. 
(262, my emphasis) 

Although Ophuls'lengthy films (Novemher Dqys being lile exception 
at just over [wo hours long) exceed considerably the one-hour 
average which Alter assigns to these films, much else within her 
conception of what an essay film is, and does, so closely evokes 
aspects of Ophuls' works (hat the rubric itself (as examined by 
Alter) could have been conceived with him in mind. Even the 
transnational character of me genrc, which makes IE "impossible 
to categonze the essay film on the basis of the nationality of rhe 
filmmakers," addresses directly Ophuls' dual nationaliry (Frendl and 

T heau:i.cs of Sound 145 

American) and multilingualism; he speaks, and indeed interviews 
his subjects in English. French. and German ("Essay Film" 262). 
Offering a suggestive symmetry between multi-nationality and Its 

effect on the filmmaker's work, Alter funher writes: 

Falling t1\emseives be(Ween categones, more or 
less finding a home in multicultural lands, they 
have been inspired, if not forced, to look for their 
inspiration (0 a similarly multilayered practice of 

filmmaking. (263) 

It is in between categories where Marcel Ophuls can Lndeed be 
loca[ed. Born in Frankfurt am Main III 1927, Ophuls moved with 
his filmmaker falher, Max Opltuls (1902-1957), and actress mmher, 
H ilde Wall, to France upon Hitler's ascension to power. In Fran.ce. 
where he became a citizen in 1938, his father connnued making 
films. adding to his German productions half a dozen movies in 
French. In 1941, the family fled Europe to California. where l'.iarccl 
attended l-Io\1ywood l ligh School and befriended the daugluer of 
a fellow exile, B3[bara Brecht. In 1949 Max Ophub, after a baef 
career in Hollywood. moved back to Europe. where he made four 
more films and worked fo r German radio through the mid-1950s. 

Tn a 1982 interview Ophuls exclaimed, "I'm my father's son 
and I lo\"e the tinsel of show business. I'd much rather be making 
fic cional films" (Ophuls, '1n a Way" 48). And indeed the younger 
Ophuls' emry into movie making in the early 19605 was nOl as a 
documenta rian but as a featu re filmmaker. One of hiS first fi uns, 
made in France under the aegis of Francois Truffau[, was the fearnre 
Ptau de ballalle starring the well-known acfOIS Jean-P.l.ul Be1mondo 
and Jean ne l\{oreau. In 1964 he made his second feature film, Fm ti 
volollti. 11 is coniectured [hal the failme of th is film mrned Ma[cel 
Ophuls from a director of featu res into a maker of documentaries 
(Sarris 362). Yet if Oplnlis' subsequent work can be conccpmally 
defined as essay film, wh ich accordlng 10 Alter, " igno res generic 
borders or chooses to transgress their norms conceptually and 
formaUy" ('Essay Film" 262), It can be argued that Ophuls never 
left the "tinsel of show bUSiness" fully behind and funlH::r that 
many of its qualities and aspects resurface in the d()Cumentary 



146 ron..J (In Germall Sll/diu 

realm. Documentary filmmaking is "a prison," Ophuls once 
admim:d. «But I don't dunk rh'llt has to be inevitable. I'm aware of 

its bleakness. ItS grayness., ItS artistic limits. Because I'm aware of 
it. J prObably make more attempts to enrenain than others mlghl" 
(Ophuls, "In a Wa)," 48). 

1TI 

Entertainment fo r Marcel Ophuls very often takes lhe form 
of, d Ia Chevalier, song, and above all, popular song. Perhaps 
the embodiment of popular song in the modern age is "The 
International." Conceived in exile by Eugene POluer following 
the defeat of lhe Paris Commune. it became, from the 18905 
00, rhe song accompanying aU major revolutionary and peOleSt 

movementS. Significantly, this ItYnlne tiu ptwple appears In aU three of 
the documentary films mentioned here, spanning twenry·one years 
from TJJt Sorrow al/d the Pi!] to NOlltQJkr Dqs.6 
In the earliest work, me song is aUuded [Q but not sung. There twO 

French farmers recaU In an Interview that they sang" L '[I/ternaliol/oll' 
dunng the occupation; yet dleir motivation, they admit, was less an 
ideological commiunent to the labor mm'ement than It being tbe 
counter-hymn to the Vichrist anthem, "Le Afaruhal." In NOlltlJlber 
Dqs precisely an ideological commiunem is signified, although 
coming as it does on the final days of the East German regime 
betrays an anachronistic, if not ouuight ironic, intrusion. H ere 
an elderly couple is interviewed ar their home a few momhs after 
the Bertin us/garlen ra lly in aurumn of 1989. The discussion 
revol\'es around their partidpacion ar the rally and whether they 
had approvingly waved their Parry cards, as Ophuls mamtains. This 
sequence cuts to a BBC newsreel, where a dose-up reveals that the 
e1derly man, in fact, was nor waving hh Party card, but his clenched 
fist, the Party salute, and singing, in unison with the large crowd, 
"Die [nltrl/aliol/a/e.'" The scene conjures rhe fi nal gasp of not just 
rhe reformers of socialism but of [his man's long and sincere be bef 
in the l)'rics he smgs In the newsreel: Die Inremaaonale erkiimpft 
das Menschenrecht!/ Volker, hon die Signald/ Auf, zlim le lzten 
Gefecht! 

Through the (oral, aural and visual) presence of "The 

Theatrics of Sound 147 

International" in Hote/ Terminus, we can more fully undersl3nd 110t 

only us vanous functions in all three films, bm the Significance 
popular song, 10 general, has for Ophuls. For It is In l-1ote/Tem~inu~ 
thaI Ophuls reveals Ius own lOumate knowledge of the workers 
anthem, sharing the lyrics with his interlocutor, and, in rurn, IllS 
audience. There the interviewee is Erhard Dab nnghaus, one of 
the American agents who had been in charge of 'handling' Na~is 
(including Ba rbie) immediately after the wa r. On camera, he Sl~ 
beside his pool in retirement and recountS fo r Ophuls that BarbIe 
bega n to disuust him " because I knl!w the first verse of the 
CommUlllst national amhem in German." \Xlit holll missing a beal, 
O phuls begins with the words "Volker, bon die Signa ld" while an 
overdubbed soundtrack plays a musical rendition. Dabringbaus, 
lying on his lounge chair, immediately joins the refrain, "Auf ;.:um 
letZlen Gefecht! Die Internanonale erkiimpfr das Mcnschenrecht!" 
As the twO men, Interviewer and inrcrviewee, slllg hearuly to the 
accompaniment of dle soundtrack, the camera, to underscore the 
irony berween lyrics and location, mo,'cs to a long shot of the 
backyard with its lush vegetation before commg back to the twO 

men simng beSide the swimming pool. 
Forming an ambo nexus between The Sorrow und the Pi!] and 

the twO works under conslderat.ion here, this sequcnce comments, 
in pan, on the imponance of "Die IlIlernaliolltJle" for Ophuls.s The 
song, of cou rse, IS an integral pa rt of the workers' condlUons 
and aspirations (as revealed, at least pa rdy, by the farmers 10 Tht 
Sorrow and lhe Pity and the elderly couple III Nolltll111er Dq}J). But 
even in Hole/ Termillus, where the juxtaposition of song C'\'(facht 
auf, Verdamm te dieser Erde, die stets man nocb zum Il ungern 
zwingd") and poolside location brims wllh irony, there is a hint 
of self-reflexivity in Ophuls' readiness 10 singmg the lyrics himself. 
Ltke his interViewee Dabringhaus, whose knowledge of the song 
stems, presumably, from his father's years, he d iscloses, as a Krupp 
steel worker, Ophuls' knowledge of the song seems also [Q have 
a fiuu ilial (though no t a simllar class) o rigin, as becomes evident 
in a conversation with the "spy mastcr" Markus \X'olf in Nolltmber 
Days. T here, Ophuls reminisces, " in the 20s and 30s ou r fathers 
shared the same views. In the Weimar Republic who wasn't on the 
Left? Who wasn't Communist?" Rather than being only an ironic 



148 FOfus on Germoll S'JI(/iu 

audiovisual device within films treating rather serious subjects, "The 
100ernarional" as popular song reveals not only Ophuls as the son 
of a prominent (HoUywood) director-father and actress-mOlher, bur 
also somedung of [he ZtitgWi. encompassing pleasure and politics, 
central to his formation. 

EJo.-panding Jan Bumma's above description of the 
Ophulsian method, Alter views it as a "signature 
version of rhe montage" whereby me I1lmmak« 
intersplices, o ften with disruptive ironic effeCl, clips 
from old fearurc films, documentary fOOlage from 
various periods o f his lOry, and other devices [hat 
undercut the verisimilirude and empathy commonly 
exuded by live Interviews. ("Opl1uI5" 34) 

Es~cially disruptive and ironic is (he documcnrarian's own singing 
voice. Like [he poolside duet (trio, if we include rhe o\'erdubbed 
soundtrack) singing "Die Internotiono/t" Jr\ HOltl Tern/ifill!, OphuJs' 
lyrical intrusions become most evidem in NOL'ellJbtr D'!p. This film, 
which Ophuls chancteriud in a 1995 imerview as ''Lhe picture I 
had the most fun making" (Ophuls, "Troubles" 9), begIns with a 
recitation of rhe precursor, if not prototype, of all popular song: 
the children's rhyme. Yet before a dllld's voice, and then the 
filmmaker's own, recites lines from Alin ill !I'i'orlderlalld (the apt 
"Humpty Dumpry'l, we have a sequence of shots of a smiling 
and upbeat Erich I-Ionecker waiting at Schonefeld airpo(( for 
the arrival of Gorbachev in cady October 1989. Undercutting 
me vcnsimilitude, and impending doom, of this historic meeting 
between me (\\'0 Eastern Bloc leade rs, each moving politically in an 
opposite direction, is the intrusion of popular medley. 

The first is "September Song" a Maxwell Anderson and Kllrt 

\"leiJl number sung by Lotte Lenya, and which features the lines " I t's 
a long, long while from May LiIJ December and the days grow shan 
when you reach September." Cenainly an appropriate choice for 
a film enticled NOI.'ellJber DOYI (and in which the evems rhemsclves 
are referred to as "Okroberrage'j. As such, this slow and soothing 
aurumnal song echoes the winding down of the old regime. Vel the 
next refrain divulges a love song, its lyrics alluding [0 croce promise 

Theatrics of Sound 149 

and hope: ''\Vhen lhe aurumn weather rums the leaves. to Aam~: 
one hasn't time for the waiting game." The aurumn "wailing game 
is on ly one dement of Ophuls' NOl'tmbtr DayJ. The season has yel 
another dimension, made: evident In Ophuls' recitat ion, soon after 
Lenya's "Sep tember Song," of these lines from " Humpty Dumpty':: 
" In auruffin when the leaves are bro\\'n/Take pen and Ink and Wr\lC tt 
(all) down." The concurrence (in one season)-through IWO popular 
forms of entertainment--of the political (Ihe demise of the GDR 
and the Berlin Wall), the aesthetic (via the directive "take pen and Ink 
and wrile it aU down'" and finally the erotic (of "rhe waiting gal.11e'') 
pOlnrs unmistakably to the: "dlsrupuve ironic effect" characlensuc.of 
Ophuls' work and 10 the genre, essay film, in general. I n deSCribing 
the inclusion of popular song, paruculady of the Hollywood type, 
in, first, N01'tI1Jbtr Dl£Il and. second, HOlel TmIJirlllJ, I \\'ould lIke to 
highlightlhe erotic d imension in such form~ of .enrcrtaJnmem and, 
morc to the poim, elaborate upon how thiS dimenSion addres.ses 
and reRects Ophllis' Own views of popular cul ture and the (enSI~n 
between i( and 'high' culrure. Thus, cannOt Lhe hope and fratc rtllry 
offered by the hJl1Jf1e dll peupk, the «Iflferfloliunak," be equally offered, 
Ophuls seems to ask, through the even wider ap peal (Ihrough 
diversion and emen.ainment) of the Iiollywood show rune? As 
Alter insightfully rema rks, " in virrually any musica l comedy, song 
and sex fo rm a momemary bridge bctwcc:n different na\lOl1aJ and 
class identities" (,'Ophuls" 38), 

In one of the first interviews In Novtmber D'9'/, Ophuls asks a 
young West Berliner (who is shown III [he accompanyin~ BBC clip 
seating a fence into the Eastern secror) abom her expenences mal 
night in October 1989. "\,(!onderful," the well-spoken woman replies 
in E.nglish. "What did you mean 'Il'S wonderfu~'?" prods Ophuls. 
Wilhout waiting for the woman's reply he breaks lIltO song, wlIh the 
opening lmes of George and Ira Gershwins' "'S Wonderful": '~t'S 
wonderful. Jr's marvelous, you should care for me." Ophuls' vOice 
soon dissolves imo an overdubbed soundtrack of the same song.' 
f>. laking the link between popular song and sex (and. to an cnen.c, 
between Eros and po li tics) explicit, Ophuls then asks the woman If 
thcre was 'flirting' (hat mght, too. Momentari ly stunned, the woman 
replies, "Excuse me?" and then giggles, "Well ... " 

Nor letting go of this nexus berwcen Ihe political, the erotic, 



150 For:1f 011 Germon S/~diu 

and pop ular song, Ophuls' nen intelViewee is a young East German 
man who recounts th at his firs t post-Wa ll foray was moving in for 
(hree months with a \Vest German woman before rerurning to the 
EaSt and to his wife. "Ich habe den Eind ruck," Orhuls muses, "class 
Fre:iheit erwas mit Erorik zu run hat. I-Iaben Sic das auch beme rkt?" 
As the grinning and vigorously nodding man replies, "Tcilwcise," 

we hear Marlene Dietrich, from the soundtrack of The Blllt Allgtl 
(1930), sing her signature song. " Falling in Love Again": "lch b in 
von Kopf bis Fuss auf Liebe cingeslcllt/Denn das ist meine \'{felt 

und sonst ga r niches." In a line that nOt on ly echoes salient dlem es 
from (he earlier Holel Tem/intls but anticipates a leitmotif I see at 
work in NOlitfIJber Dqys, Werner Schafer, the wandering lover gllo ted 
above, u nwittingly links erotic with political desires for freedom in 
his concluding remark: "Jeder Vogel kann hinfliegen , wo er will; 
bloss wir waren don eingespenr. 

Still another insertion of a theatrics of sound in NOl-'MJber Days 
is lhe connection between popular song and poliucal freedom in 
Ophuls' interview wirh his childhood friend, Barbara Bredll-SchaU. 
Again Ophuls lighdy pushes the erotic, reminding Brech t thar "we 
used to spend rime in our childhood together in Santa Monica 
because the beach was close and you were a very good-looking 
girl." A bit embarrassed, Orcein replies, " I was?" Before retu rning 
to his conversation with Brecht, Ophuls cuts to Interviews with, 
first, a \'(Iest Ge rman nco-Nazi (whose appearance is immediately 
occasioned by a shor of the graffiti "Sau Jud" on Bertolt Brech t's 
grave) and, second, a young aCtor playing dle lead role of Sigismund 
in tht musical, 1", weimn Rilssl (The lf7hilt Horse 1"'/).10 

This inrerlude, replete with popular song with.in die Barbara 
Brecht seguence, add resses In part the complex question o f identity, 
namely how one nor only defines onesel f, here as a Jew and as a 
German, but how olhers add to, or dis(Qrt, that identity. Ophuls 
reminds us [hat Benoit Brecht, anti-Semicic graffiti notwitilS[anding, 
was tlOlJewish; yet in d,e crosscut from the poet's desecrated grave, 
the neo-Nazi, to whom rile filmmaker openly declares hImself as 
a Jew, s tates: "Es konnte hier kein einziger Jude leben, unci wir 
konnten froudem UllIe[ jiidischem EinfluB stehen." The film tben 

Cuts to a performance of IOJ weimlJ PJJisl, wi(h the lead actor singing 
',\,(/aS kann der Sigismuncl clafiir?" Ophuls informs the actor that 

Thearrics of Sound 151 

lhe musical, "written by nothing but Jews," was nor played during 
tbe T hird Reich, and (hen inguires why, since 1945, he tlunks a 
Jewish aC(Qr cannor be cast for this traditionally 'Jewish' role. T he 
implication of a German actor (successfully) playing a 'Jt:wi~h' role 
comments, of course. on me intractable categories of idt:nt.ity (and 
racist stereotypes) voiced by the neo-Nazi, and on the so-called 

"Jewish influence" he finds in a Germany largely devoid of Jews. 
Seemingly unwilling, Of unable, to pass on playing the role of 

"der schone Sigismund" himself, Ophuls comments on the baldness 
of the German actor. lnformed that this is only part of d,e actOr's 
costume (in fact, as Sigismund sings, his bald pate is "one of my 
strongest weapons in the battle with women"), Ophu ls [elonS that 
''I'm a real Jew and am really bald" and begins to sing "\'(/as kann 
der Sigismund dafllr?" Theatrics of space O.ere literally on a theater 
stage) and theat..rics of sound unite. Popular song (the domain of 
the feature fi lm) and role of identlly in Nazi ideology (the domam 

of the documentary) are intertwined in a characteristic Ophulsian 
momcm. 

Theatrics of sound in Novtmber Days does. however. assume 
a di:;unct and political direction and shape. What I earlier referred 
to as the film's leitmotif is more fully developed through the 
resumption of the Brecht interview. Barbara Brecht is one! of seve ral 
'charncters' in the film wh o generally look back wid. fondness to the 
establishmem and accomplishmems of the East German state, and 
with some uepidation, if nOt remorse, to its demise. Siglllficantly 
the defenders of the G DR feanl fcd in the fi lm are all of a privilege.d 

class and part of the intdlecrual elite.: Brecht. Stephan Il en nhn, 
Heiner l\ luller, and Markus Wolf. Their counterparts, on the other 
hand, are all poruaycd as non-elites, 'common folk,' as it were. 
whose aspirations arc none other than the freedoms associa ted with 
the \X'est. Of all freedoms underscored in the COll rse of Ophuls' 
interviews with d,e "common folk," lhe most idea liked (and yet 
not guite anainable) is the freedom to t.ravel, which was already 
anticipated in tbe ea rly line by Werner Schafer: "Jedct" Vogt:! kann 
hmflicgen, wo er will; bloss wir waren don eingesperrt ... " 

T he sequence tl,ar exemplifies the film's ideologIcal OClcmauon 

is Ophuls' resumed imerview with his childhood fLiend. Brecht 
laments Ihat the fo unding of the GDR was based tOO little on an 



152 Ftuu$ 0'1 Gtrman Studies 

economic rather lhan a moral foundation. She quotes her fath er 
for suppOrt, "Erst kommr das Fressen, dano kommr die t. loral." 
Ophuls then asks, rather incredulously: ''\Vas It [the GDR] buill on 
morals? Which one?" Rather [han cutting back [Q Breda for (he 
reply, the camera isolates a street sign on rhe corner of FrudtlUlroj!e 
and Ltninalkt while rhe soundtrack plays Bing Crosby's "l'm singing 
11 song of freedom."1! Ophuls answers rus own question, ''\'Qhich 
moral?", lhrough the juxtaposition of subsequent shms and this 
soundtrack. While the song continues ("\X'here aU people cry om 
[0 be free'') the camera cutS to another su eet sign. Ltninplott and 
to a Lenin monumcOI. Precisely when the soundtrack of this so ng 
about freedom reaches the lmc "Freedom to sail the seven seas", the 
camera cutS from the Lenin starue (0 the "common folk," to a you ng 
man identified as Herr Oppolka, who says, in affirmation (and in 
English), "lr's wonderful!" The Cros by number continues with the 
film's now signature concern: ''If the birds up in the uees can be 
&ee, (crosscut to Oppolka: "Super!"] why can't we?" 

Before again cutting back (0 the Brecht interview we have 
another example of a theatrics of sound: {Q Crosby's lyrical 
exhortation for freedom (In a [One and spirit, one migh t add, not 
far from me above-oted esnrn2tion of Chevalier: "ebullient, bouncy 
and mindlessly opumistic'j we see !\I.'O men repairing a T rabal/I. The 
motif of freedom of movement, e,'en in an old rebuilt Trobl, is what 
leads back to rhe conversation with Brecht, now concerning the 
symbol of movement's main obstacle, me Berlin Wall. 

"Freedom (Q sail the seven seas," repeats Brecht, echoing dle 
Crosby song, "lhal's certainly a very important freedom and the \XlaJl 
should have been pulled down twenty years ago, at least. I think it 
was okay to raise It, it was madness to leave it standing." " I imagine," 
Ophuls inquires, "you had occasions to listen to Erich I ionecker and 
his wife explain why the Wall went up." Brecht replies thar she had 
no connection to rhe regime. In a typical Ophuls crosscut, following 
one interview wHh its aural conuadiction, we hMr Heiner ~ Itiller 

challenging Brecht's statemenr (and declared innocence) and which 
is followed by a \'isual conuadicrion, where we set: footage of Brecht 
sirnng next to Honecker in the from row at the Berimer Ensemble. 

The foUo\\'log sequence begins urith Muller aUuding [0 Brecht'.:; 
privileged surus, which mcluded her ability to travel abroad and 

Tbeatrics of Sound 153 

which soon leads to his own admission that he tOO needed the 
regime. '1 probably needed the pressures of the J lctawrship; 
and democracy bores me."12 The fi lm cuts to Steph3.n Il ermlin, 
who acknowledges that travel abroad was the plivilege of the elite. 
I lc.rmlin Ihen proposes that if those who wanted to uavel In Ihe 
days of the GDR could "sing like Peter Schreier and Thea Adam" 
then they, lOO, would have been permitted to VISit Dayrcuth and 

Salzburg. 
As counterparts to H ermlJll and Brecht, a young couple who 

have been interviewed inrermirtemly throughout the 111m (like a visual 
leitmoti f) recall tbe difficulry of leaving the East. T he Wife, Kalin 
Radunslci is reminded of the humiliation III tbe officials' quesuons 
and insi!1~ations before allowing her husband to visit a re.iative in the 
\Vest. Now, however, they have already vacationed in France and 
beam to O phuls of their triumph. On screen snapshots of Rhone 
valley vineya rds predominate, accompanied by the soundtrack o f 
Tamino's sweet ana, "Dies Dildnis ist bezaubcrnd schon." The irony 
in litis theatrics of sound, however, is not fully Uluavcled (at least 
not for rhis listener of Die Zoubttj/iiu) until the film's very end when 
the credits reveal (hat dlC aria, In the soundlr2ck accompanying the 
Radunskis' vacation photos, is sung by Hermlm's privileged tenor, 

Peter Schreiet. 
The camera not infrequentjy catches gluupses, If nOt direct 

shots, of Ophuls himself. At times his image:: as uHervie::wer appears 
In a mirror behind the interviewee (as III the sCCluence with Hcmer 
Muller), ar ot her times he shares the frame with his m[erloClHor. 
There is one moment at th e:: end of the film, however, where Ophuls, 
unexpectedly, lUrns from interviewer 10 interviewee. Barbel Bohley 
(identified as "The t'liother of the Revolution") uemoans (b al as 
money and freedom, since the opening of the Wall , hllve become 
synonymous, [h e " Iirtle people" in the East will have less freedom 
as they have also less money. Sudden ly she asks Ophuls: "I low do 
you see dlC situation?" Taken aback, It appea rs, by bemg cluestioned, 

Ophuls replies: 

You [eally w:am to know? The Germans have the 
same right of self-determmauon as others. And I 
can'[ get over the facllhat tile \'(IaIlIS gone. That's 



lS4 FoCUJ 011 Gtnnall SIS/diu 

so positive; I can't understand the others' anxieties, 
inducting YOllfS.

U 

Howeve r good, according to me vtJim o f Brecht, l\'li.iller, and 
Hennlin , the "good old days" of the GDR were, the .hoim desired 
by me "common folk" seem (Q have {he filmmaker's sympathy. The 

last words of NDvtmber Dqy.l belong neither to the privileged cast(e:) 
of characters nor [Q Ophuls himself. Rather the words belong to 
Karin Radunski, and by association to all the "lircle people" whose 
tl"olvails and desires were portrayed in the film. Echoing Ophuls' 
reply [0 Bohley, and indeed containing an element of rhe diversio n 
and the pursuit of pleasure inherent in rhe COllre genre of Hollywood 
tunes, she says, referring to the 117ende, as the film closes: 

The bes( pan of it is the feeling of being free. You 
can speak your mind over a beer or while eating out 
with friends. You don't have to worry about the 
man behind you listening. H 

TV 

True [0 Ophuls' conception of movie-making, popular song, 
including the Hollywood ... -ariery, also has a pan in m t": far darker film, 
HottlTtrminus: the Uft and Timu oj K/ma Barbie. Ophuls explains hi s 
vision as such: 

Realiry is so fantastically complex. The more you 
can work with music, anecdotes, jokes, etc, me 
better off you are, because you're not going to gel 
as much Truth, with a capital T, if you don't use all 
of that. (Ophuls, "A Sense of Loss" 20) 

Unlike Ophuls' omt":J: films, HOlel Temll'nlls uses (again as a 
lciunotif) yer anmher expression o f popular song. To children's 
rhymes, workers' anthems, and Hollywood show tunes, as we have 
seen In Novtnlbtr Days, Ophuls here inuoduces the folk song, and 

specifically the German Utd. According to Buruma, the "use 
of German folk songs, sung by the Wiener Sangerknabcll, adds 

Theauics of Sound ISS 

a grotesque poignancy to the main charge against Barbie the 
deportauon of small Jewish children ro Auschwl[:':" (229) Indeed, 
right at the beginning of th!! film, as we set black and white slill 
photographs of the deponed children from tbe French village o f 
h ieu, wc hear a children's chOir sing "Sweet Homeland, Farewell," 
a melody based in parr on a nineteentb-cenrury S\V;l,bian folk song 
(pinkert-Sa ltzer 308). The "grotesque poignancy" of this 
"audiovisual space" becomes nearly perverse when one looks, 
against the visual context, at the words of the song: "Und so sing 
ich d!!nn mit frohem Mut, wie man singer welln man wandern nit, 

lieb' Heimacland, ade!" 
Ophuls' choice of folk songs in tlus film (all four sung by rhe 

Vienna Boys' Cboir) undoubtedly addresses the siniste r past of this 
German genre. In a recent study on the Lied, Edward F Kravitt 

states: 

To say that the lied play!!d a significant role under 
rhe influence of llauonalism understates the ISSW .. :. 

}. [ore accurately, the lied became a principal vein 
to the hearts of a Ge rman people shaken in the 
late nineteenth century by social and economic 
upheaval. How better [0 discover a nalion's rootS 

than through the folkish songs of its people? (vii) 

K.ravin describes lhe cCOlraliry of the folk song in the rise of 

nationalist ideologies from the mid nineteenth cenrury, including 
for [he influential fin de siecle youth group, the lV'unden.'Ogei. Kravitt 
quotes one of its leaders, Hans Breuer, who declared, "In tbe 
VoiksliuJ.-the soul of the GermanS-lhere lives the pulse of our 
entire German history" ( 108). Significantly, the folk song was seen 

also as a cultural countermeasure not only against " lIle fash ionable 
popular song" (109), but against "ballroom dancing, lhe cinema, and 
many other recreations of the modern age" (Stachura 22). In short, 
against the precursors of Ophuls' other cherished musical genre, 
popular show songs, and indeed against his very aruslic medium. 

Segments of "Nun ade du mein lieb' Heimadand ," are insened 
at least si.x more limes in lhe course of this film. Its second 
appearance constructs a djffercnt rbeauics of sound as this time it 



156 Foci! on German StlitUtl 

acts as the soundtrack to Barbie's own topographical and imellecrual 
origins. Skillfully inlertwining text, audio, and video (and thus 
further corroborating mat this work can indeed be considered a 
multilayered essay film), Ophuls' milt-en·srtllt here consists of a 
montage of elements all belonging to Barbie's youth. 

Beginning with a neon sign above the present-day Hotd 
Terminus, and accompanied aurally by the opening melody of 
"Nun ade," the scene cutS [0 shots of a school courtyard. To this 
"audiovisual space" (folk sOl1g and schoolyard) we hear, as voice­
over, Ophuls reading an essay wrinen by the schoolboy Barbie. 

" Request for delivery of a high school diploma 
to Klaus Barbie, 5raatliches Friedrich.\'(/ilheim 
Gymnasium in Trier. I request permission to 
take my final examinations £his coming Easter 
1934. ( ... ] Please take nOte also of my religiOUS 

convictions." 

Elsewhere in me film, Ophuls eagerly seeks to establish a particular 
locus when exploring the "life and times" of Barbie. We rhus 
repeatedly see shors of geographic signs and sites either generally 
familiar to [he viewer or that are explained by the context. Belongmg 
to the Latter are the long and medium shotS, as the camera cutS from 
the schoolyard in Trier, of fields, lakes., and a VIllage. This, we 
immediately discO\rer from the essay being recited by Ophuls, is the 
topos of Barbie's youth: 

"Like my mother, I am a true child of the Eifel, 
the stern landscape whose volcamc origin can be 
seen reRected in the serious characrer of all those 
who have grown up in it. My father was a teacher; 
my mother was a teacher, there can be little doubt 

about my own plans for higher education." 

The text of the soundrrack now assumes another dimension from 1[S 

use earlier against the stills o f the children of Izieu. Here, echoing 
its origin also as a \,</estphalim soldier's song. rJle lyrics address 
B~rbie's own eventual departure from "rhe stern landscape" of 

Thealrics of Sound 157 

the Eifel and likewise from his "own plans for higher education": 
Begleitest mich, du heber FluR •.. ./Bist traurig. daR ich wandern 

mun,! Ueb I leimatiand , ad61 
The use of this folk song su rely points to the irony generated 

by the harmless nos talgia in its lyrics againsl lllS actual departure, as 
a newly promoted SO officer. Its yea rning lyrics renecr, however, 
only the first leg of what will be a long exile, including BarbIe's 
nearly thirty-year stay in South America. « H IS is lhe Oiaspora of the 
rortl1rers." Ophuls said of his film subject, "mille is the other one" 

(Buruma 229). 
Yet however, and irreversibly, condemned these fo lk songs 

are.l ~ a closer look at their lyriCS alsO reveals themes and aspirations 
that Ophuls seemS to advocate in NOVUllixr D'YJ. The desire and 
need "to sa il the seven seas" is reflected, If not embodjed, in the folk 
song, particularly in the subgenre Itrantkrljllur. There Is., o f ~o~rse. 
bi lter Irony when we hear In f fold Ternl1nUJ the fo lk song, '\V'enn 
ich ein Voglein war/ ftnd 2uch 2wei Floglcin han,! liog' ich zu dir./ 
Weil's aber nieln ka nn sein/ bleib ich all hier." 

Flight is anything but possible ("Weil's aber nicht kann scm") 
in the audiovisual space in which this song is heard: i.n the o pening 
credus, where a prison waU in Lyons is framed, am.! later and even 
more acutely as the soundtr:lck to a clip of R.t:~nais' Nighl alld 
Fog. Yet one cannot help isolating the clement of wan.de~Ulg, and 
its embodIment III thIS genre of popular song. and linkmg It 10 

Ophuls' emphasis on human mobility and the yearning to "sa il the 
seven ~as," a freedom lhal belonged only to the pnvileged few in 
Not~!I1btr Dqys. It IS exactly "\'Qenn ieh ein Voglein war/ unci IllICh 

zwei Fliiglein hill,! flog' ich zu dU," that the wandering lo\·er at the 
opelllng of Not'eRlber Dtgs unwittingly and implicitly S:1Og WIth hIS 
remark t11at "Jeder Vogel kann hinfliegen, wo er will; bloss wlr wa ren 

dort eingcspern ... " 
A final (heatncs of sound that Ophuls insen s in Hotel Terminus 

ftatures the Itranderlietl, " Oas Wandern is[ dts MulIers Lust." Pan of 
the 1818 cycle " Die schone ~rulle[in" by lyricist Wilhelm Muller, 
the lext was put to music uy, among others, Franz Schubert. It 
was popularized, however, Liuo ugh the melody set in 1844 by the 
11,uringial' choit director, Carl rriednch Zollner (Pin kert-Sal tze r 
297). t-.Iore thall the o ther three Folk songs used in the film by 



158 rocu; 0'1 Ctrn1(m SilIdltI 

Ophuls, this one: accentuates me urgency. indeed me demental 
need, to wander, comparing this drive to the movement of water and 
stones in a stream. "Vom Wasser haben wir's gelernt.! vom Wasser 
haben \Vir'S geJernr. j"om Wasser: I Das hat nicht Ruh' bei Tag und 
Nacht. list sters auf \X'anderschatt bedacht,l das Wasser." 

Surely these words teRect the desires of the "common folk" as 
well as the basic freedom:! that Ophuls emphasized, and championed, 
in Nolltfl,ber Dr:J!. But in IhiJ context we lrc still f:lr from the eVCnlS 

of 1989 and the dismantling of the Eastern 13I0c. The setting for 
this particular "audiovisual space" is sunply a black background on 
which the closing creditS of Hotel Ttrmimn are shown. As though a 
four-hour film on the brutality of Nazism and specifically of Barbie 
(and those who protected and defend him) w~re nor enough, (he 
very laSI scene, JUSt prior co the credits with the accompanying folk 
song. reveals yec another act o f Heachery, a neighbor's betrayal of a 
family in hiding. Yet within this dark scene there emerges a sliver of 
hope through one inwvidual's act of conscience (and comrasted by 
another's act of cowardice). 

In this final scene the filmmaker himself appears on screen, 
accompanying a survivor of Auschwirz to her one-time home in 
France. There the woman, Simone Kadouche-Lagrange, meets a 
former neighbor, who. she says. looked the ocher way when the 
Gestapo had come 10 arrest the Kadouche family. As filmmaker 
and his interviewee ascend the same steps of the apartment building 
down which the woman was forced forty years earlier, Kadouche­
Lagrange recalls a neighbor who did not look me other \\'3y. "1 
feel a fondness for her, nOt for me othets," This neighbor, she 
(elis Ophuls, tried unsuccessfully (0 intervene and grab lhe young 
Simone into her aparunent. As the film fades out intO tIle black 
background and dosing credirs, and intO the jarring soundtrack 
of the Vienna Boys' ChOir singing "oas \,<tandern is( des Muliers 
Lust," we hear me final homage to (he individual, and implicitly the 
potential in his or her choices, through a calm but firm voiceover: 
"This motion picture is dedicated to the late Madame 60nrou[-a 
good neighbor." 

In what actS as an audiO epilogue to Ophuls' film, iI is not 
until lhis final scene-the closing credits with irs accompanylllg 
runl!-lhar we learn ma[ (his calm bur firm voice belongs to Jeanne 

Theatrics of Sound 159 

Moreau, the grande dame of French cinema and the star of Marcel 
Ophuls' own first feature film o f a generation ea rl ier. 1n o ne last 
magisterial use of a theatrics of sound, Ophuls shows us .that f~lk 
soog, even one With a nefarious past, is at once also a mamfestatlon 
of popular song and individual exp ression. Folk song (via " oas 
\Vandern"), fl!atwc film (via the voice of Moreau), and documentary 
do no t cancel one anomer o ur. All arc elemems of, Ophuls seems at 
pains to emp ha size in his essay films, a popular mode of expression 
in which resides some redemptivl! potential. 

1 would uke to thank [he (wo anonymous reviewers for their 

hdpful commenlS and suggestions. 

Univmiry of Af/chigon 

Notes 

1 Nolltmber Da)l. dl!. Marcd Ophuls, Co-prod. BBC/FR3/~la[cd Ophuls, 
! 990 and Hotel Ttrmi!lllJ, dlr. Marcel Ophuls, Memory Plcrul"es Co., ! 988. 
Hou/TtrminllS won the Academy Award for Best Documenw)" 1J1 1989. 
Z Mudl of my ulmklog 2boul the aspect of sound In Not'l",lKr D9/ 1S 

indebted to Nora M. Aher's work on Ophuls. Especially useful arc Alters 
concepts of "audlovisw.1 space" and "audio graffiti'· C'Ophuls" 3a}. 
) Christa \'{'olf was asked but dedmed to be imerYlewed fo r the film 
(Ophuls, "Troubles" 9). 
, J n her recent article. Susan Rubin Sulciman offers an incislvc and 
pioneenng readmg of this film, linking her analysis 10 Ihe larger issue 
of cultural mcmory. It is WIth some modesry dlat I propose lhc prescnt 
paper as an !lulial response 10 her comment that "Ophuls's usc of musIC 
in hiS films. I ... ) and in HOlt! Ttf7J"lInllIlIl parcicubr, would deserve a 
separate srudy" (Suleiman 522). 
~ Stanley Hoffmann in Ius introduction, The Sorrow and tht PI!): A rib" by 
Marct/Ophuls. Filmsrript, xvu 
, Unlike for Tht SOfTOJI' and the Pi!}. I have nOI been able 10 examine film 
scriptS for either Novembtr D.gs or Ilott/TermiflllS. My quotations (odler 
than most of the song lyrics, wluch are readily available) are thus based 
on mulopk viewings of the films. I have also benefited fronl ::>celllg 1 lou! 
Ttrmilllll on laserdisc formal (fht C/,/tnJa Disr Co/ltrtion, dist. by Image 



160 Foms on German SIJidiu 

Enu:ruinmem. 1989,S-sided disc. # 106763VV, approlUl1\2tC runnmg 
tlme: 272 mmures). Born films are avallable on VIIS. One hopes, now 
that Tht Sorrow aIId the Pi!} has been released on DVD, thil[ (he others, 
espec.i:lUy HOltl Tmnil1ln, wil l soon follow. 

1 Alter considers lhis sequence as a self-reflexive (and self--corrective) 
commen! and on misreading one's cVldence. "Ophuls hunself has 
misle:1ld documentary 111m footage in hIS Own film, and that he allows us 

[0 see and hear this fact" C'Ophuls" 40-4 1). 
• In conjunction with Noiltmbtr D91, Alrer also mentions (in a fooUlote) 
Opbuls' use of 'The International" in Tix SOffli» alld The Pi!). There IS 

no reference, howc:ver, m her urick to us use III Holt! T'r11I1/JilJ ("Ophuls" 
43). 
• The film credns CIIC this song from the 1957 film F/wl.J ['"alt, directed 

by Stanley Donen and starnng Fred AS!a1rc and Audrey Hepburn The 
original score \vas composed by George and Ira Gershwin ill 1927 and 
was added [0 the movie soundtrack. 
101m 1I.-'t1.SJl1l &JJd. Operetta by Ralph Ben:l.[zky. Premlered on 8. 
Novcmlxr 1930 in Berhn. 

.. T he song, writren by irvlllg Berlin, is from the 1942 film, Ho/idtq 11111, 
directed by Mark Sandcich and also Stars Fred AStaLfe. Ophuls' auention 
to Asraice deser:es a separate study. A lhU'd film feaNring Astaire (SWln,g 
Time, 1936) is also '\.jsuaUy Cjuored" LIl both Hottl Ttrminus and NoJltmbtr 
Day. 
Ill n Getman LIl ilie film. 
I) In German in the film. 
14 In German LIl the film. 
IS "Die weder sind ruch! mehr singhar, \\-'(il ihre Wirkungsgeschlchte 

bewulll ge\.\'Orden ist. \Vir sind Ihnen gegen6ber In einer hisLOrisuschen 
Situation" (Kurlke 230). 

Works Ci ted 

Alter, Nora M. "Essay FLlm." Enryckpdra".! tIN ESI!!]. Ed Tracy 

Chevaher. London; Chlcago: Fitzroy Dearborn, 1997. 262-65. 
---. "~"arcel Opht1ls' NO''lmbtr Dqyr. German Reumfication as 't-lusLcal 

Comedy'." FilmQlUlrttr&51 (Wimer 1997-98): 32-H 
Buruma, Ian. "Marcel Ophuls." Imagmm,g &Olity: Tht Fabtr Book ".! 

DOf1lmmtary. Ed. KevLll Macdonald and t- Iark Cousins. London: 

Faber & Faber, 1998. 22~-33. 

Cantor, Jay. "Death and the Image." Bryolld D(XUmml: Emryl Oil Nolljirlioll 

T heatrics of Soun d 161 

Film. Ed. Charles Warren. Hanover, N H: Umv. Pro of Nt.."W 

England, \996. 35-1\9. 
Corrigan, Timothy. A Jlxirt Cuide to It7nlillg ~ut Film. 3'" ed. New York: 

Longman, 1998. 
Kravin , Edward F. TIN Uld: Mirror of ult &mallliaJIR. New Haven: Yak 

Umv. Pr., 1996. 
Kurlke, '·Iermann. l-gnmen IIlId LHatrdtr D'II/srhm. Jvfamz: D ieterLch'sche 

Ver1a~buchhand lung, 1990. 
Nichols. Bill. Bmrrtd &11IId.lriU: QIlUtiOIlS oj Allan,"!. ,'I Ullttfll/JOrory 

CHltllrt. Bloomingto n: Indiana Uruy. Pro. 1994 
Ophu1s, f\.b rceJ. "The Troubles He's Seen." InterView with Hlchard 

Porton and Lee EIliekson. CiIlMiIt2 ! (1995): 8-13. 
''In a Way nLis \'('ork, It's a Curse." I ntcrvicw \l1lth Claudia Drcifus. 

TIN ProgrtSstl't 46 (1982): 45-49. 
"Thl JorrowAlidThl Pi!r- A Sense of Loss." Interview wllh Betty 

Jeffries Demby. Fiimmtlkm Ntwslttltr Dec. 1972: 18·23. 
Pink.crt-S1Jtzer, Inke, ed. Ct,.".,~n SOIl!.S: POpMIar, Polllh:a!, rolk, ulld RtlzgIOMS. 

TIle German Library 53. New York: Continuum, 1997. 
Sarris, Andrew, cd. TIN 51. janltl Filf!l DirtfJon EllrytVJptdia. Del!olt: ViSible 

Ink Pr., 1998. 
The Sorrow alia lhe PirY: A Flbll I!J 1I1ami Ophuls. FilmscnpL Trans. "'lireillc 

Johnston. New York: Outerlmdge & Lazard, 1972 
Stachura, PeteL 'flu Ctrmull Youth Alowmtllt, 19{)()-f9.J$: Alt illttrpmullilt 

and DOOIf!ltltlary Hntory_ New YOlk St. "'lawn's, 1981. 
Suiciman, Susan Rubin. " Ilmory, "' Iemory, and Moral Judgement III 

Documentary FIlm: On "'Iaree! Ophuls's Holtl TtrllIIIIUJ: TIN ufo and 
Til1fu of Klaus Barillt." Cnnfal 11IqlllfJ 28 (2002): 509-41.