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By Mike Thomas
There
was something of a George Stevens double bill last week in Los Angeles.
On Tuesday, George Stevens, Jr. introduced his father’s film, “The
Diary of Anne Frank,†at the Skirball Institute and took part in a
panel discussion with Millie Perkins and Diane Baker conducted by LA
Weekly film critic, Ella Taylor.
The
intervening years have not dimmed the power of film, in fact, it seems
even more powerful today, despite the many films dealing with the
Holocaust in the intervening years. Perhaps because of the gripping
humanity of the source material, the film manages to convey the
horrible monstrosity of the Holocaust by humanizing it, giving the
nameless 6 millions not only names and faces but recognizable
personalities. We care because we have come to recognize these people,
for all their foibles and quirks, they are us.
Yet
another factor in the film’s success is due to the superb mastery of
his craft that George Stevens demonstrates in the film. He had helped
liberate a concentration camp during WW II and that horrific memory
infuses every frame of “Anne Frank.†The fear of discovery that was
ever-present hangs in the air throughout the film like an unspoken
terror that dare not be named. The tension Stevens created, especially
in the scenes of the burglary of the safe later, when the Nazis search
the office while the cat nearly gives them away, is cinematic mastery
of suspense worthy of Hitchcock. Throughout the film, the lighting,
composition and editing are all textbook examples of great film
directing.