The Shocking True
Story of the Court Case That Put the Holocaust on Trial
By Chris Sabga
Attention, Academy:
Give Rachel Weisz the Oscar! The London-born actress's startling
transformation into a tough-talking teacher from Queens, New York, is
nothing short of extraordinary.
I'll be honest: It's
a pet peeve of mine whenever a performer attempts an accent that
isn't their own. Let's face it: it doesn't always
work – at
least not 100% effectively.
Oftentimes, you can almost see the gears grinding in their head as
they concentrate on adjusting
their vocal chords while
simultaneously remembering and reciting
their dialogue. Every word out of their mouth usually feels strained
and unnatural. That's not the case here. If I had never seen Weisz
before, I would swear
she was born and raised in New York. She's
that good in "Denial."
In 1996, historian and
writer Deborah Lipstadt (Weisz) was sued for libel by Third Reich
sentimentalist David Irving (Timothy Spall) because she characterized
his beliefs as "Holocaust denial." His actual views: the
Holocaust never took place. His argument: that "denier" has
become a defamatory term with negative connotations – similar to
"racist" and other such words.
The trial was lengthy
and cost millions of pounds. Yes, pounds. Apparently, America isn't
the only country that gets itself tied up in frivolous litigation.
But there is one very
important difference to note: The American judicial system of
"innocent until proven guilty" does not apply in England.
Instead, it is up to the accused party to prove his or her innocence.
In this case, that meant Deborah – and the Holocaust, by extension
– was put on trial, even though
the lawsuit was filed against her.
Sounds
ridiculous, doesn't it? But it actually happened.
Anthony
Julius (Andrew Scott) agrees to take the case. He was previously
Princess Diana's lawyer, which means Deborah's defense is being
handled by an elite legal team. The stakes are too high for anything
less, and the ramifications of a loss would be devastating.
In
another difference from the American judicial system, it isn't Julius
himself who will argue the case in court. Instead, that important
duty is given to a different lawyer entirely, Richard Rampton (Tom
Wilkinson, who delivers yet another solid, reliable performance in a
career filled with them).
Within the first few
seconds of hearing David Irving speak out against the Holocaust,
Silver Screen Sister shouted at the screen: "I'm already
offended on behalf of all Jewish people."
That offense turned to
grief as Deborah and Richard travel to Auschwitz on a "research
mission." In a stunning scene, what at first seems like air in
the sky ends up being a faded montage of concentration camp prisoners
descending the stairs of Auschwitz to their impending doom.
Watching the
intricacies of the English legal process unfold is fascinating. In a
big American trial, you would expect Deborah to passionately take the
stand, and for Holocaust survivors to do the same. Neither happens in
"Denial" – for very good reasons I'll leave you to
discover.
This film does a great
job of creating suspense for what is otherwise a forgone conclusion.
Is a court of law the
right place to decide the legitimacy of the Holocaust? That's the
question I raised during the movie and one the people involved in the
case struggled with as well. There are no easy answers, but what
cannot be debated is just how important – crucial – it is
to discuss a historical event of this magnitude. Perhaps the
formality of a courtroom setting is as good a venue as any.
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