November 15, 2023
FILM: NATHAN-ISM
DIRECTED BY: ELAN GOLOD
RATING: 3 ½ out of 4 stars
By Dan Pal
Nathan Hilu was a man who, following World War II, served as a guard during the Nuremberg Trials as several former Nazi leaders were put on trial and eventually sentenced to death. As he ages into his 90s, Hilu is interviewed by filmmaker Elan Golod to explore the stories Hilu has spent years drawing as colorful and startling works of art. Nathan-ism is not only the name of the film but also what Hilu called his brand of art. Hilu considered himself “a memory man” more than a great artist. The documentary explores his art and also the faultiness of memory.
Sitting hunched over on a couch, Hilu uses sharpies and crayons to re-create the memories he says live inside his head. The images are big, loud, crude, and almost child-like. They’re filled with words that describe or accentuate the images. Golod does so much more than just showcase the man and his work though. Some of the images are animated bringing the long-gone people and events back to life. He also beautifully incorporates archival and newsreel footage that provide even further details about the events, figures, and significant moments of the war and trial.
As much as the film might be a history lesson for some it also recognizes that most of the memories of that period are being lost due to the passing of the people who lived through it. As such, Hilu’s own stories and art work offer a unique perspective on one of the biggest trials of the 20th Century. It’s amazing how much of it there is. Some is stored in Brooklyn in large boxes and trunks. While a few critics may consider the work as amateurish, this “visual memoir” has also been shown in books and art galleries.
The film itself takes an unexpected turn as archivists attempt to research Hilu’s military record. Unfortunately, a lot of those records were destroyed by a major fire in St. Louis in 1973. So, most of what remains are Hilu’s own drawings. They represent what he says he saw and heard during the trials. He gets annoyed at anyone, including Golod, who questions the legitimacy of the stories he tells. Did these events really happen? Was he really there? Should some of these stories now be considered folklore?
The interactions between Hilu and Golod are quite interesting to see. Even when Hilu gets angry it is clear that a bond had developed between the two of them. We hear answering messages that Hilu left for Golod on good and bad days. Sadly, we don’t get a lot of information about Golod though as he zeros in on Hilu and all of the other interviewees that have researched Hilu’s work. It’s not completely necessary to know more about Golod within the context of the film but the connection he makes with this much older man is priceless. I can see an entire Tuesdays with Morrie-like, fictionalized version of this film somewhere down the road.
However, what this film does is to bring to the world an interesting voice from a bygone era. What was in his head can now be found in the sheer volume of work he created. They are his memories brought to life and as one interviewee states, it is important to “stand up for your memories.” Thankfully Hilu did and Golod was there to record so much of it.
Nathan-ism is having its New York premiere at DOC NYC. It is available to be streamed on the festival’s site until November 26th. For tickets go to https://www.docnyc.net/film/nathan-ism/
FILM: NATHAN-ISM
DIRECTED BY: ELAN GOLOD
RATING: 3 ½ out of 4 stars
By Dan Pal
Nathan Hilu was a man who, following World War II, served as a guard during the Nuremberg Trials as several former Nazi leaders were put on trial and eventually sentenced to death. As he ages into his 90s, Hilu is interviewed by filmmaker Elan Golod to explore the stories Hilu has spent years drawing as colorful and startling works of art. Nathan-ism is not only the name of the film but also what Hilu called his brand of art. Hilu considered himself “a memory man” more than a great artist. The documentary explores his art and also the faultiness of memory.
Sitting hunched over on a couch, Hilu uses sharpies and crayons to re-create the memories he says live inside his head. The images are big, loud, crude, and almost child-like. They’re filled with words that describe or accentuate the images. Golod does so much more than just showcase the man and his work though. Some of the images are animated bringing the long-gone people and events back to life. He also beautifully incorporates archival and newsreel footage that provide even further details about the events, figures, and significant moments of the war and trial.
As much as the film might be a history lesson for some it also recognizes that most of the memories of that period are being lost due to the passing of the people who lived through it. As such, Hilu’s own stories and art work offer a unique perspective on one of the biggest trials of the 20th Century. It’s amazing how much of it there is. Some is stored in Brooklyn in large boxes and trunks. While a few critics may consider the work as amateurish, this “visual memoir” has also been shown in books and art galleries.
The film itself takes an unexpected turn as archivists attempt to research Hilu’s military record. Unfortunately, a lot of those records were destroyed by a major fire in St. Louis in 1973. So, most of what remains are Hilu’s own drawings. They represent what he says he saw and heard during the trials. He gets annoyed at anyone, including Golod, who questions the legitimacy of the stories he tells. Did these events really happen? Was he really there? Should some of these stories now be considered folklore?
The interactions between Hilu and Golod are quite interesting to see. Even when Hilu gets angry it is clear that a bond had developed between the two of them. We hear answering messages that Hilu left for Golod on good and bad days. Sadly, we don’t get a lot of information about Golod though as he zeros in on Hilu and all of the other interviewees that have researched Hilu’s work. It’s not completely necessary to know more about Golod within the context of the film but the connection he makes with this much older man is priceless. I can see an entire Tuesdays with Morrie-like, fictionalized version of this film somewhere down the road.
However, what this film does is to bring to the world an interesting voice from a bygone era. What was in his head can now be found in the sheer volume of work he created. They are his memories brought to life and as one interviewee states, it is important to “stand up for your memories.” Thankfully Hilu did and Golod was there to record so much of it.
Nathan-ism is having its New York premiere at DOC NYC. It is available to be streamed on the festival’s site until November 26th. For tickets go to https://www.docnyc.net/film/nathan-ism/