Award-winning documentarian Pierre-Henri Salfati’s foray into feature narrative filmmaking is a thoughtfully rendered story of friendship and healing, with nuanced performances including a turn by renowned German actor Mario Adorf as the hardened yet lovable Marcus. Poignant, funny and deeply moving, The Last Mentsch is a powerful, emotional journey. Mavi Boncuk |
Der letzte Mentsch [1] | 2014, 93 minutes, Germany | Director: Pierre-Henry Salfati[2] starring Mario Adorf, Katharina Derr, Hannelore Elsner
Marcus Schwarz has denied his Jewish heritage all his life. After surviving the horrors of Auschwitz, he tried to forget by creating a new identity for himself in Germany.
But when Marcus decides he wants to be buried in a Jewish cemetery, and the rabbis don’t believe he’s Jewish, he is forced to return to his childhood Hungarian village – with Gul, a young chain smoking Turkish woman at the wheel – to prove his identity. It’s a life-changing trip for both.
With all his family gone and no remaining records – except the faded tattoo on his forearm – Marcus’s only hope is to return to the Hungarian village where he grew up to try to find proof of his birth. He enlists a young Turkish woman to drive him there, resulting in a journey that will change them both forever.
[1] The last man (German: der letzte Mensch) is a term used by the philosopher Friedrich Nietzsche in Thus Spoke Zarathustra to describe the antithesis of the imagined superior being, the Übermensch, whose imminent appearance is heralded by Zarathustra. The last man is tired of life, takes no risks, and seeks only comfort and security.
The last man's primary appearance is in "Zarathustra's Prologue." The last man is the goal that Western civilization has apparently set for itself. After having unsuccessfully attempted to get the populace to accept the Übermensch as the goal of society, Zarathustra confronts them with a goal so disgusting that he assumes that it will revolt them. The lives of the last men are pacifist and comfortable. There is no longer a distinction between ruler and ruled, strong over weak, or supreme over the mediocre. Social conflict and challenges are minimized. Every individual lives equally and in "superficial" harmony. There are no original or flourishing social trends and ideas. Individuality and creativity are suppressed. The society of the last man would go against the theoretical Will-to-Power, the main driving force and ambition behind human nature; as well as all other thriving life, in the universe. Nietzsche said that the society of the last man would be too barren and decadent to support the growth of great individuals. The last man is possible only by mankind's having bred an apathetic creature who has no great passion or commitment, who is unable to dream, who merely earns his living and keeps warm. Alternatively, the last man could also be brought about by a league of strong individuals who somehow are coerced into corrupting their own power structure. The last men claim to have discovered happiness, but blink every time they say so.
The last man, Nietzsche predicted, would be one response to nihilism. But the full implications of the death of God had yet to unfold. As he said, "the event itself is far too great, too distant, too remote from the multitude's capacity for comprehension even for the tidings of it to be thought of as having arrived as yet."
[2] Pierre-Henry Salfati (b. August 20, 1953, Carcassonne, France) is a director and writer, known for Der letzte Mentsch (2014), The Jazzman from the Gulag (1999) and Tolérance (1989).
Trailer