So I finally saw Hannah Arendt this weekend.
As entertainment, it was fine. I enjoyed the tender portrayal of Arendt’s marriage to Heinrich Blücher (though the rendition of her relationship to Mary McCarthy was painful to watch). I loved the scenes in their apartment. Even though the depiction of its style and decor was more Mad Men than Morningside Heights, and the roominess, airiness, and light of the apartment gave little suggestion of the thick and heavy German hospitality for which Arendt and Blücher were famous. And, yes, a lot of the dialogue was painfully wooden and transparently devoted to narrative exposition, but I didn’t mind that so much.
My real problem with the film is that I can’t, for the life of me, figure out why it was made. As my wife pointed out to me, it doesn’t shed any new light on the Eichmann controversy or Arendt. There’s nothing in it you wouldn’t know from Elisabeth Young-Bruehl’s biography or those drive-by summations of the Eichmann controversy that you get in standard intellectual histories of the period. So why make the film?
Films of this nature are supposed to dramatize something you can’t see in—or understand from—other genres. But does Hannah Arendt do that? I know there was much talk when it came out of the way that it captures on screen the process of thinking, but frankly I found those to be some of the more embarrassing scenes in the film. It’s a Hollywood producer’s idea of thinking: resting on the sofa, eyes closed, smoking, an idea crosses the thinker’s mind, eyes open. That that may have been how Arendt in fact did think—parts of it fit with Arendt’s own descriptions (not the cheesy eyes opening bits)—doesn’t quite redeem it, for the simple reason that seeing it on the screen doesn’t add anything to reading about it on the page.
I suppose one could argue that the film brings this story of Arendt and the Eichmann controversy to viewers who didn’t know anything about it. And that’s not nothing. But Hannah Arendt—who managed not only to bring stories to readers who didn’t know anything about them, but to tell those stories in a new and distinctive way, in part by the pioneering nature of her genre-bending writing—deserves better than that.