![]() ![]() But really he has policed the discussion of Shoah. He has also released three more films from the massive archive of unused footage left out of Shoah: A Visitor From the Living, in 1997 Sobibor, Oct. Since then, he has made one more film, Tsahal, on the Israeli army and its defense of Israel. And then he made Shoah-which came out when he was sixty. ![]() In 1973, he made a documentary called Pourquoi Israël. He was the absolute copy of a Parisian intellectual: traveling on assignments to North Korea or Algeria, writing for Le Monde and Elle magazine. After the war, he became the friend of Jean-Paul Sartre and the lover of Simone de Beauvoir, and eventually he took over the editorship of Les Temps Modernes, the magazine Sartre had founded. As a teenager, he fought in the French Resistance. He was born to a Jewish family in France in 1925. And this life rises up to and then falls away from Shoah. It follows in digressive fashion the contours of Lanzmann’s life story. Like the testimonies in Shoah, this memoir is an oral history-but the Paris St. ![]() Or so I began to think as I read Claude Lanzmann’s memoir, which was published in France in 2009 and has now appeared in English. But the canonical should not be exempt from curiosity or critique. If you want only the canonical, then here it is: its name is Shoah. ![]()
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