EX­CUSES, EX­CUSES

Geist - - Miscellany -

Some­time in March I suc­cumbed to an im­pulse to see the Adolf Hitler movies that I seemed to re­call see­ing years ago in my youth, but nowhere in the forty-six movies (“ranked as the great­est by the com­mu­nity”) listed on Google un­der Best Movies About Hitler could I find what I was look­ing for, which was a snappy, deep, at times bloody (of course) re­count­ing of events and subevents pre­sented within a frame of mean­ing—but I must have been much younger when I saw the Hitler movie that I seemed to re­mem­ber and there­fore more sus­cep­ti­ble to mis­tak­ing gen­eral spec­ta­cle for sig­nif­i­cance. I ran bits of the forty-six Hitler movies (well, bits of some of the fortysix) on my sec­ond mon­i­tor and let them run on am­bi­ently so to speak with the sound very low, as I “worked” at other projects. From time to time I looked up at the sound of ex­plo­sions, as­sas­si­na­tions, loud voices, etc., but noth­ing re­minded me of the Ur-hitler movie that I seemed to re­call. In the end I had noth­ing to re­port, no in­sights to of­fer, no one-lin­ers with which to liven up the End­note that I had planned to toss off in idle moments be­tween scenes of mob vi­o­lence, ter­ror, etc., and all that was un­speak­able, to be ex­pected. —Stephen Os­borne, Van­cou­ver

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