Heir to an Execution: A Granddaughter's Story

This is the Granddaughter's story. They skip (or, at least, I missed) Sobell's full story. He escaped the US to Mexico but could not get anywhere. Her grandfather was guilty. Her grandmother, yes less so, but still not innocent. Fascinating glimpse into history.

If you're looking for a good, even-handed overview of the Rosenberg case, this isn't it, but it is nevertheless not without interest.

It's not a good overview for two reasons. First, the movie spends little time looking at the actual facts of the case, focusing instead mostly on the effects on the family left behind. This can be excused, since it wasn't the intent of the filmmaker to cover the case itself. Second, and less excusable, the movie seems essentially uninformed by much of the evidence that has come out in the last decade (e.g. from Soviet intelligence archives) which provides unambiguous answers as to what the Rosenbergs actually did.

For instance, you won't hear here that documents in the Soviet archives explicitly describe Ethel Rosenberg helping to recruit David Greenglass to pass on atomic bomb construction details from Los Alamos. Ethel may not have deserved the death penalty for what she did, but it's hard to put much weight on any opinions this movie expresses on the subject, given its reliance on the pro-Rosenberg side for its view of the case.

That one-sidedness, however, is what is responsible for one of the film's two real accomplishments: giving the viewer a clear view of the mind-set of the American left in the 30's and 40's, one in which spying for a foreign power for ideological reasons was not merely acceptable, but laudable, and one in which the bald-faced claims of the complete innocence of the Rosenbergs were credulously accepted. The interviews with the aging members of the American left alone are worth the time of a serious student of the era.

The other interesting aspect of the movie is its clear documentation of the havoc the Rosenbergs' wreaked on their family. As a number of reviewers have pointed out, this is not a polished film, but the lack of polish contributes to the effectiveness of this portrayal. The Rosenbergs' willingness to put their family through this is perhaps the best measure of the depth of their devotion to the socialist cause, and helps us understand how they could have helped pass some of their country's deepest secrets to a foreign power.

The historical record currently indicates that Julius Rosenberg probably gave the Soviet Union information, and that loyal wife Ethel was a bargaining chip used by brother David Greenglass to avoid prosecution. That's about as much background as one needs to appreciate and enjoy this deeply personal and very moving film about the aftereffects of the Rosenberg executions, and the worn out 'did they/didn't they' arguments are of only peripheral importance. Filled with fascinating interviews with the Rosenberg's children and a surprising number of elderly compatriots as well as some timely and frightening 1950s footage of anti-Communist hysteria, Heir to An Execution is an emotional attempt by director Ivy Meeropol (granddaughter of the convicted 'spies') to come to terms with a dark chapter in her family history. Strongly recommended.

The names Julius and Ethel Rosenberg bring on a sweeping sensation of treason. They have become the poster-children for anti-American hatred and fear of foreign ideology. But to some, the names mean mother and father; grandmother and grandfather.

I must admit, before I saw this film I didn't even know the Rosenbergs had children. This is left out of history lessons since, after all, what did that have to do with anything? Heir to an Execution, a sensitive and thoughtful documentary from Rosenberg granddaughter Ivy Meeropol, sheds light into a shadowy area of communist spies and family tightness.

Meeropol's film begins questioning the famed Rosenberg's death sentences by interviewing old friends and socialist peers. A door is opened into their world in a way I had never seen. Hated so fiercely by the rest of America, these revolutionaries have found their way from prisons to retirement homes.

What is far more interesting, however, is what comes next. As Meeropol tracks her grandparents' lives to the electric chair the question of her father and uncle arise. What exactly did happen to them during the chaos? And more importantly, what was to be done with them after the inevitable? Political documentaries are sometimes dry and are often as subtle as a man with a stick pointing at an easel. Heir to an Execution is different. Meeropol raises doubts to at least part of the Rosenberg trial, if not all of it, while at the same time documenting the life of a wonderful man, her father. In the end we don't know which is more important, the Rosenberg injustice or the chronicle of a distinguished life whose path you would not expect winding up here. **** out of ****

7/10 This is a pretty good documentary, directed by the Rosenberg's blood granddaughter Ivy Meeropol, it covers in more detail the relationship the trial and execution has had on the family, than on the the actual trial and evidence. It is clear and objectively shown that indeed it has had an arrant multigenerational effect and most likely will continue with the director's children. However, important in the film was the revelation of information contained in the 1995 opening of classified government documents (The Venona Papers) which pretty much proves Julius' guilt (guilty of passing secrets, but nothing supposedly as serious as atomic info) and exonerates Ethel. This is presented as a surprise in the film, although this information was revealed nearly a decade before the film had been made. We spend half the film getting to this point, whereas the film would've been much more effective and in-depth if it would've started off at this point. I only say this 'cause the degree to which the guilt, or degree of guilt affects this family's identity, is highly relevant and the major theme of the documentary. This, and Morton Sobell's incomplete answers to the nature of their guilt (he was their co-defendant!!) made the film seem a little more biased than it had to be. The film also in a way martyrizes the Rosenbergs, which is fine if they were innocent, but a sad and unavoidable manipulation if not. Overall, this is slightly nitpickish on my part and anyone interested in this era of history will not be disappointed.