Watch Hôtel Terminus: The Life and Times of Klaus Barbie For Free

Great Film overall

Absolutely brilliant

After playing with our expectations, this turns out to be a very different sort of film.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

German-born American documentary filmmaker Marcel Ophüls' fourth documentary feature which he wrote and produced, was screened in the Un Certain Regard section at the 41st Cannes International Film Festival in 1988 and is a France-USA co-production. It tells the story about 44 children from a Jewish orphanage in Izieu, France and the collaborators, friends, enemies, supporters, accomplices and victims of a husband and father of two who began his long-lasting career as a Nazi during the early 1930s in Germany and the acts he committed by himself and was helped to commit against humanity.This somewhat biographical, historic, political and comprehensive post-war Germany story which is narrated from multiple viewpoints, in an objective way and through the voices of survivors of torture, former leaders of the former French Resistance, former members of the former Counter Intelligence Corps in the United States, former activists, attorneys, journalists and people who experienced WWII and it's aftermath, is an informative and incisive examination of French and German history, war crimes, the displacement of guilt and an investigative journey through the places where the main character grew up, studied, took up residence and carried out clandestine operations.This multilingual, conversational and important non-fictional feature is impelled and reinforced by it's interrelated stories, the absence of visual effects, of the subject himself, the director's presence, his way of conducting interviews and the presence of the interviewees who as much as the filmmakers are the creators of this documentary. An unsettling, heartrending, revealing and disenchanting documentary feature from the late 1980s which gained, among other awards, the Academy Award for Best Documentary Feature at the 61st Academy Awards in 1989 and the FIPRESCI Prize at the 41st Cannes Film Festival in 1988.

I have always been fascinated by history as a subject and just cannot understand why so few people show any interest in it. I have no illusions, Marcel Ophüls' long documentary about the life and times of Klaus Barbie, a brutally efficient German police chief in occupied France in World War Two, will hardly convert anyone into an avid historian. But I think it is a collective testimony that will outlive the present and could be used in history classes in a number of countries all over the world. Today and tomorrow. The director, who throughout the movie appears as an interviewer, is an angry man. He acts accordingly and knows what he wants from the faces he encounters during the making of Hôtel Terminus. And he has an almost uncanny talent to get from the interviewed what he wants. But it feels real and I am positive that Hôtel Terminus is a frank and biased documentary. Its main aim is to convey information about facts and human nature. No one will ever be able to use it for any kind of indoctrination. Basically, the movie is a biography of Barbie, from the beginnings in provincial Germany up to his trial in the late eighties in Lyon. Ophüls visits – apparently within a very short stretch of time - the places where Barbie lived: in Germany, France and Bolivia. He talks to people there. Some have to say something about Barbie and what he did, some have not – or do not want to. A wide range of statements and non-statements is artfully woven into a tissue that shows how concerned respectively unconcerned humanity as a whole can be about past events, however terrible they are. Shots of landscapes, short sequences of documentary footage and excerpts of local folkloric or popular tunes are cleverly inserted into that texture and give the statements additional emotional weight.The movie is very concerned about two particular incidents. This maybe constitutes a weakness because the attention is directed away from Barbie. It probes deeply into the arrest and the disappearance of legendary French resistance leader Jean Moulin and into the abduction of the «enfants d'Isieux», Jewish children who found shelter in an isolated boarding school and were betrayed to the German forces of occupation. The point here is, that Barbie as the man held responsible for the two incidents had to count on French collaborators. There were suspicions that the French authorities were for a long time not very anxious to bring Barbie to trial as he had inside knowledge that would tarnish the official history of France during World War Two. The two «sub chapters» feel as if they were made specifically for a French audience, especially in the intricate Moulin affair it is difficult for an outsider to follow.The most striking result of Hôtel Terminus is that it shows the brutal banality of terror in a totalitarian regime. Barbie, basically a public servant with a sadistic streak who executes orders he was given, does not really become alive as a character. Somehow he gradually vanishes further and further into the background. He does not play the chief villain in this movie but is used as an example of one of many ruthless henchmen of a tyranny. The message of Hôtel Terminus is, as I see it, that only the complicity or the indifference of the "general public" made Barbie's career and the atrocities he was capable of possible.

I saw "Hôtel Terminus" as part of a cycle of films dealing with Second World War, its protagonists and its effects. This was the last in the series in chronological order, but the first I saw: it was the only one dealing with modern consequences of that war. The film is what some people call a "talking heads", referring to documentaries made primarily of interviews. I did not know the term and heard it for the first time in the late 1980's in the Havana Film School. Students used it in a derogatory way. But as we all know, some talking heads are good. This one is, and a very good one. I am supposing that most everybody knows that Klaus Barbie was a Nazi agent, a torturer, then an anti-Communist spy for the CIA, that he escaped from Europe with the help of the Catholic Church and that he finally dealt with gun traffic in South America. He was caught, sent to France and judged in Lyon. In four hours and a half, Marcel Ophüls (who is not a very nice subject on camera), not only reconstructs Barbie's life, but he covers so much ground that it's noteworthy how his editors were able to maintain one's attention in so many persons, facts, dates and abundant references in the testimonies. I have been told that the film worked as an alert for the resurgence of neo-Nazis and the so-called "ordinary fascism". Well, it should be seen every now and then, because it seems that as long as there are human beings there will be totalitarians, traitors and assassins, and as long as there is a group of nations that want to control the world, there will be new holocausts. We all know that because of all the Klaus Barbies we have seen in power. This one won the Oscar as Best Documentary.

As an affectionado of WWII movies, I was excited to discover this documentary at our local library. However, the problem I had with it was that I needed help understanding the background of this part of WWII. I know a lot about this period, but not about occupied France. For the length of this movie, you would have thought they could have spend a few minutes getting us all up to speed. What's the prerequisite for this course?