The Holocaust: The Nasty Girl
Rosmus is a 30-year-old graduate student and the inspiration for German director Michael Verhoeven's "The Nasty Girl," which opens today in Washington. The film, the story of Rosmus's decade-long battle with her hometown during the late '70s and through most of the 1980s, is much like Rosmus -- determined, cheeky, charming and even funny.
Hitler once lived there, in a house converted to a museum during the Third Reich, and Eichmann was married there. Over a period of 10 years, Rosmus pursued her quest in the archives and in the courts, proving at one point that the editor of the local Catholic newspaper - who was hailed as a resistance hero - in fact wrote pro-Hitler editorials and even urged his readers to pray for the fuehrer. These revelations did not make Rosmus popular in her hometown; she received anonymous phone threats, she was once beaten up by neo-Nazis, and her high school teacher, whom she had married, left her after things began to heat up. All of these events are faithfully mirrored in the film, which has been made in a curiously lighthearted spirit and is not the dirge we might have expected. Lena Stolze, in the title role, is given to yodeling when she uncovers another piece of damning evidence, and her character in the movie has been compared by some critics to Nancy Drew.
The film is a satirical comedy, using humour to address the issues surrounding Germany’s Nazi past. It employs overt staging and breaking of the fourth wall to highlight the performativity and increasing absurdity of the town’s desperate attempt to keep its secrets in the past (Levin, David, 1998). For example, the scenes in the archive take place on a theatre stage in front of a screen on which the background is projected, which emphasises the fabricated and rehearsed manner through which Sonja is kept out of the archive. The town’s landmarks are often substituted by the same screen-projection method, which makes the background literally interchangeable: such scenes could have been shot in any German town. Furthermore, in addition to Sonja’s voice-over and scenes in which she addresses the audience explicitly, the townspeople who are accused of collaboration are also given the chance to directly address the viewer (Rosmus, Anna, 2000). This gives the sense that they are being interrogated by the viewer, and their attempts at covering up their involvement seem even more unconvincing and pathetic when directly addressed to the audience.
Thank heaven for little girls.
Levin, David. “Are We Victims Yet? Resistance and Community in ‘The White Rose,’ ‘Five Last Days,’ and ‘The Nasty Girl.’ Germanic Review 73, no. 1 (1998): 86-100.
Rosmus, Anna. “From Reality to Fiction: Anna Rosmus as the ‘Nasty Girl’.” Religion and the Arts 4, no. 1 (2000): 113-143.
Verhoeven, Michael, dir. The Nasty Girl (Das schreckliche Mädchen). Filmverlag der Autoren, Sentana Filmproduktion, ZDF, 1990.