Home News The Stella Goldschlag case: the bizarre life of the Jew who worked for the Nazis

The Stella Goldschlag case: the bizarre life of the Jew who worked for the Nazis

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The Stella Goldschlag case: the bizarre life of the Jew who worked for the Nazis

To write that Stella Goldschlag lived a busy life is, to say the least, a poor summary of one of the most complicated biographies of the 20th century. Born in 1922 in Berlin, into a moderately wealthy Jewish family, she saw how His life was transformed overnight. for the racist harassment to which the Nazi regime began to subject its people in the late 1930s, which led her to perform forced labor with the yellow star embroidered on the chest. But Goldschlag, who had earned a certain fame in the city, with nocturnality, treachery and singing those half-times that came on records with an American accent, was not willing to let history pass over her.

That’s the drive you cling to «Stella. Victim and guiltydirected by German Kilian Riedhof and that passed through the last Malaga Festival, among the international films that are exhibited at the contest. «It is an exciting life. We are talking about a Jew who ended up serving as a spy for the Gestapo. For years and involving members of his own family,” the director advances the story for LA RAZÓN, analyzing the core of a film that, over several decades, tells us the transition of its protagonist from the subject to the object of oppression.

Paula Beer in "Stella.  Victim and guilty
Paula Beer in “Stella. Victim and guilty”TWELVE OAKS

A life on the wire

The film, generous with its footage and spectacular in terms of production design, takes us hand in hand with Stella (here the Paula Beer discovered in “The red sky”, which will arrive in our theaters in April) on her way through the wire, betraying everyone gullible enough to trust her and undoing, in reality, any attachment to morality. It is interesting, in fact, how «Stella. Victim and guilty refrains from re-trying a woman already sentenced to several years in prison for her abominable snitch crimes, limiting itself to trying to contain the impressive nature of the true story. «When you are choosing empathy to narrate the life of a character, It matters little how bad or good he was in life“What you have to achieve is that the viewer understands, even if they hate, their decisions in the film.” explains meridian Riedhof.

Although at times it may be chaotic in its time jumps, the great virtue of the film lies in synthesize the constant guilt from a modern perspective in which German citizens live since the time in which the story begins. «I don’t know if it’s possible that that will ever change. It is something already intrinsic to what it means to be German,” points out the director, as if hitting the nail on the head about those grays that permeate everything and that almost destroyed the last Berlin Festival. «It is sad that asking for peace is taken as a political statement or how to agree with one of the two sides,” Riedhof reflects, before saying goodbye, on how Israel’s bombings on the civilian population in the Gaza Strip have shaken the core of his country, the same one in which six Millions of Jews were murdered by the State and thanks to the collaboration of infamous figures such as Stella Goldschlag.

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