Reviews round-up

The critics' verdicts on Claude Lanzmann, Andrew Motion and A N Wilson.

The Patagonian Hare: A Memoir by Claude Lanzmann

In the Telegraph, Nicholas Shakespeare delights in stories from the French director's life. Though Lanzmann is famous for Shoah, his 1985 documentary about the Holocaust, and lived life on the edge fighting for the French resistance, Shakespeare believes that the book has light as well as shade: "his memoir is also - surprisingly and triumphantly - a childlike celebration of life as Lanzmann sees it epitomised by the singularity of another hare that bounds out of the darkness". Though some dates don't seem to add up in this "dense" memoir, Shakespeare approaches such inconsistencies with ease, claiming they do not detract from the remarkable undertaking Lanzmann has attempted at the age of 86.

In this week's New Statesman, George Walden is similarly awed by Lanzmann's execution in condensing such a remarkable life into one (albeit large) volume. Calling it "a breathless book", he writes: "the zest for adventure is compelling, the writing - beautifully translated by Frank Wynne - fluent and inventive...the character and topographical sketches dazzling, the action sequences enthralling". But Walden is less forgiving of Lanzmann's embellishments, and does not hesitate to suggest that "A politician must justify his actions in the light of history; a writer and cineaste, it appears, is permitted his modish enthusiasms".

Silver: Return to Treasure Island by Andrew Motion

There's high praise for Andrew Motion's attempt to pick up where Robert Louis Stevenson left off in the beloved Treasure Island. In the Independent on Sunday, Suzi Feay claims the book convincingly recreates the style and scale of the 19th Century novel. "Motion is never afraid to slow the action in order to create some glowing effect of atmosphere or setting". In terms of its relationship to the Stevenson's classic, Feay believes it is a sensitively rendered homage: "The narrative's darker meditations and developments may stray into the territory of Joseph Conrad, but in a real sense, RLS is on this voyage too ... I think he'd approve of this rich and thrilling narrative which so ingeniously complements his own".

Writing in the Sunday Express, Martin Newell perceives that "Motion, probably for the first time in years, is having fun with this". The style, he says, is "airy, almost carefree, rapidly drawing the reader in", and has an "elegance" befitting the poet in Motion. Newell is also convinced by the attempt to recreate the world of Treasure Island, going so far as to say, "it is sometimes hard to perceive the join between their books".

Hitler: A Short Biography by A N Wilson

A N Wilson's take on Hitler and Nazism has, to say the least, received a mixed response. In the Observer, Nick Cohen describes this "short, sharp" work as "a liberation" when compared to the innumerable hefty biographies of Hitler, and praises the attempt to refresh a subject that has been exhausted by others: "Wilson refuses to play the 'parlour game' of counterfactual history and ask what if Britain and France had found the strength to stop the Nazis in 1936. The historian should only study what happened, he says". Cohen also writes that Wilson "is superb at putting himself in the shoes of others and sketching the mood of a time with a few strokes of the pen". But his adulation ends abruptly at Wilson's closing sentiments, which he believes let the entire book down since they are merely "witterings that are so asinine Thought for the Day could broadcast them".

Historian Richard J Evans dismisses not only the ending as misinformed, but the entire biography. In an acerbic attack in the New Statesman which spares no aspect of the book, he writes : "What might do as background research for a novel won't do as preparation for a serious work of history. Nor does he seem to have thought very hard or taken much care over what little reading he has done". Evans proceeds to list just a few of these failings, turning Wilson's claims inside out. Furthermore, he notes that "There are many contradictions in the book's arguments", and Wilson often uses "material that is marginal or irrelevant". Incredulity is the dominant note: "It's hard to think why a publishing house that once had a respected history list agreed to produce this travesty of a biography".

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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit