Hôtel Terminus

The film is very good but sags in the third hour. However, you must stay with it. Take a break, have some coffee, and come back. I saw this film a good five years ago, but the final few sentences were so moving I remember them still, word for word. It must be seen. We're talking hot tears and goosebumps.

Marcel Ophuls's Academy Award-winning "Hôtel Terminus" is primarily a look at Nazi official Klaus Barbie, aka the Butcher of Lyon. But in focusing on Barbie's life - his plain childhood, his torturing of prisoners in France, his escape to South America, and his eventual capture - the movie addresses some points. One is the French authorities' complicity in the Nazis' deeds; much like how the police in Paris were responsible for the Vel d'Hiv roundup, the police in Lyon helped turn over Jews and resistance members to Barbie. Another is how the US helped Barbie avoid justice; his anti-communist views made him a natural ally to the US-backed juntas in Bolivia.

The point is that, much like how the Nazis' actions didn't come solely out of Hitler's evil little mind, Barbie's deeds and escape didn't happen in a vacuum. This was a carefully planned out scheme. All in all, it's a fine documentary, exactly the sort of thing that everyone should get required to see (especially since so many people have suddenly decided to defend Nazis).

Although this movie is quite disturbing at times, due to its subject matter, I would go as far as saying I enjoyed watching it. It has left me quite shaken up and I know I will be thinking about this film for a long time. As a lover of languages, I appreciated the jumping back and forth between French, German, and English. Overall, it is very well done. For such a serious topic, it is done with appropriate humor and pauses for reflection. It's intense, but not unbearably so. Because it made me want to learn more, to do research even, I have given Hotel Terminus a 10.

I found this on Hulu, and I am obsessed with movies about WWII (the Holocaust in particular). Armed with my smartphone, I dove in. Initially, I was confused because the director/interviewer jumps into the French Revolution shortly after having some associates of Klaus Barbie describe his childhood. Then these leaders of the Revolution start talking about the betrayal of Jean Moulin. I had to hit pause and check it out on the web. After getting a bit more background, I moved on. I was disgusted when I heard back pedaling from Rene Hardy and Francoise Hemmerle. Ultimately learning that Hardy was framed, and seeing an interview with him towards the end of his life, I did start to pity him. However this Hemmerle woman would chuckle when talking about atrocities of torture then say "oh, I helped I the resistance, then proceeds to refer to the film 'Night & Fog' as "propaganda". This is where the running theme of "oh it was so long ago." This seems to be a running theme with the people who helped this butcher later on. The narrator really doesn't talk much about the Holocaust too much during the film, but focuses on the CIC (American intelligence) utilized Barbie as an informant. Woah, stop the bus! Then what really foxed me was if you Google any of these Americans, not a whisper. The person who drove me insane with his non-answers was a certain Eugene Kolb, who was Barbie's handler. He states that based on his relationship with Barbie, he doesn't believe he needed to use torture to get information out of people. I think that is similar to saying the Holocaust didn't happen. Every word out of his mouth is a contradiction or a back pedal. I knew that the US wanted nothing to do with the Jews until the very end of the war. This disgusts me as a human being. The film moves along with more people who "were just doing their jobs" (much like those who dropped Zyklon B into gas chambers) in the hunt and capture of Klaus Barbie. Turns out, that Barbie was involved in the capture of Che Guevara. The film alludes to this, but that was another topic of my own research. One person who is actually more candid than you would think is Barbie's former bodyguard. He was apprehensive at first, but through his story he tells of how he has to get people to go shopping for him as he was persona non grata in Bolivia. I think he realizes as he is speaking with Maurice that if he tells the truth, it may benefit him. It's a bit of a buildup, but watching him break is rather interesting. Well, as most know, there comes a point Barbie needs a lawyer at his trial. This lawyer is Jaques Verges, a well known defender of terrorists from Palestine and Algeria, and also a cohort of the leaders of the Khmer Rouge (this I learned more about from another film, Terror's Advocate). He did what he did more because he wanted France to acknowledge what they did to the French in Lyon and in Algeria. This is touched on, but never fully explained. The jury to me is still out on him, only because there is logic behind his intentions, even though I don't agree with him politically, or on a level of humanity. I won't ruin the end, but this four hour documentary is well worth the watch. I will say that it would be wise to get caught up on the French Resistance a little beforehand. Because I was so interested, I purchased The Sorrow and the Pity, so stay tuned for that review!

Marcel Ophuls' mammoth four-and-one-half hour-long portrait of Gestapo commandant Klaus Barbie, the notorious Butcher of Lyon, is more than just a biography of another Nazi mass murderer. The film also provides a meticulous study of the forces which allowed him to survive for so long, from wartime anti-Semitism to post-war Communist paranoia to a prevailing what's-done-is-done attitude of retroactive amnesia. Ophuls is not so complacent, and makes no apologies for his sometimes confrontational approach to the subject. In his mind those who don't learn from the past are doomed to repeat it, and the sheer volume of verbal testimony, from enemies and friends alike, is only the director's way of ensuring we neither forgive nor forget. The scope of the film is vast, covering over forty years and spanning several continents, but the scale is intimate: one voice, one detail at a time, making it an exhaustive but hardly exhausting account of one monstrous but admittedly small cog in an evil machine, pieces of which are still well-oiled and operating even today.