A new documentary pays fitting tribute to a monument of European cinemaby Jonathan Derbyshire / November 9, 2015 / Leave a comment
One of the most celebrated sequences in Shoah, Claude Lanzmann’s monumental nine-and-a-half-hour film about the destruction of European Jewry, takes place in a barber’s shop in Tel Aviv. Lanzmann has persuaded Abraham Bomba, the “barber of Treblinka,” a member of the Jewish Sonderkommando whose job it was to roughly cut the hair of female victims before they entered the gas chamber, to deliver his testimony.
The sequence is a set-up—by the time Lanzmann had tracked his subject down, some time in the late 1970s, Bomba was retired, having spent several decades working as a barber in New York. We see Bomba wielding the scissors, apparently cutting the hair of a man later identified as a friend of his from his hometown of Czestochowa in Poland, and describing the loathsome task given him by the SS. “You cut like that, here, there, and there, this side, that side, and it was all finished.” Two minutes for each woman. Without the sound of the scissors, Lanzmann has written, “the scene would have been a hundred times less evocative, a hundred times less strong.”
Lanzmann then asks Bomba: “What was your impression the first time you saw arriving these naked women with children. What did you feel?” After resisting the question at first, Bomba begins to tell the story of a friend of his, also a barber and also put to work at Treblinka, who saw his wife and sister enter the gas chamber. Then he breaks off, unable to continue (“It’s too horrible…”). Off camera, we hear Lanzmann urging him to go on. “We have to do it—you know it.”