Denial is a courtroom drama about the libel lawsuit filed by author David Irving (portayed by Timothy Spall) against Prof. Deborah Lipstadt (portrayed by Rachel Weisz). Irving sued Lipstadt for calling him a “Holocaust denier” in one of her books. Because Irving brought the case in England, the burden of proof is on the accused, and so Lipstadt and her legal team are required to prove Irving knowingly lied in denying the Holocaust.
As part of the research for the trial, Lipstadt and her lawyers go to Auschwitz, where her barrister, Richard Rampton, asks a series of matter-of-fact questions about the camp and the methods of killing. This makes Lipstadt very uncomfortable, but Rampton argues it is necessary to build their case.
As the trial begins, it is clear that Irving is a master of public relations. He acts as his own lawyer, against Lipstadt’s well-financed legal team, to cast himself as an underdog and create a “David vs. Goliath” image.
As part of their strategy, Lipstadt’s lawyers don’t allow her to speak at the trial, or to the press. They also refuse to allow Holocaust survivors to speak, even after Lipstadt is approached by one, pleading with her to allow their voices to be heard.
Lipstadt is greatly distressed by this. But as Rampton explains, these are the sacrifices they must make. “It’s the price you pay for winning,” he tells Lipstadt. The goal is to make the trial not about the Holocaust, but about Irving himself.
The strategy works well, and gradually they begin to expose Irving as an anti-Semite, and his “historical errors” as deliberately calculated to paint Hitler in the best possible light. Ultimately, their strategy succeeds, and Irving is ruled to have knowingly lied to deny the Holocaust.
The victory is satisfying, but Irving remains a genius at the dark art of “spin”–after the verdict is announced Lipstadt watches as Irving is interview on television saying that he obviously beat Lipstadt’s legal team, but was just not forceful enough to convince the Judge.
Although the ending of the film is as upbeat as one could expect, given the subject matter, there is a certain subtext that suggests Irving may have lost in court, but will use his skills as a showman to win with the press. I’m not even sure if the filmmakers intended this, but Irving is portrayed as a shrewd and manipulative man, and the implication seems to be that he–and others like him–could continue to trick uninformed people.
The acting is terrific throughout. Rachel Weisz is brilliant as Lipstadt, right down to her Queens accent. Timothy Spall plays Irving as a man of intelligence and a veneer of “old English gentleman” charm masking a core of hatred. Every performance is excellent.
The script is not bad, but at times tries too hard to be clever and snappy (a common flaw in dramas nowadays), and too often has characters blatantly stating exposition or background information for the benefit of the audience.
The annoying wordiness of the script is compounded by the fact that some of the film’s most powerful scenes are the ones where the characters don’t speak. The scenes at Auschwitz are every bit as powerfully haunting as they should be, without any words being necessary.
Of course, a courtroom drama is bound to have some talking, and the script is certainly good enough when it needs to be. The trial scenes are riveting, even knowing the outcome.
It’s a dark film, and not only because of the Holocaust subject matter, but also because of its depiction of how the bigot Irving advances his agenda with lies and clever manipulation of the press and public alike. The concept of truth itself comes under attack from Irving, and Lipstadt is forced to confront the possibility that to even respond would be to lend him legitimacy.
Overall, a very good and interesting film. I recommend it. It prompted me to do more research regarding Irving, the lawsuit, and the subject of Holocaust denial generally. I have a lot more to write on those topics, but that will be a separate post.
Nice review. I’ll definitely add it to my list.
Great review! I’ll definitely be watching it.
Sounds interesting. I hate it when scripts force background information statements. They always make me pause and stop believing the story line for a moment. Then I am drawn back in. But there must be and easier way.
There is an artful way of doing it. The best screenwriters are able to show, not tell, the audience. Sometimes it’s done entirely wordlessly; just in the intonation an actor puts on a single word that conveys its importance.
But it’s a very tricky thing to pull off, especially in a historical drama where it’s important to have facts right.