Marcel Ophuls, ‘Sorrow and the Pity’ Documentarian, Dies at 97

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97-year-old Marcel Ophuls, a renowned German-born French documentary filmmaker who won an Oscar for his compelling work addressing complex political, ethical, and philosophical topics, has passed away.

According to Andreas-Benjamin Seyfert, who spoke to The Hollywood Reporter, Ophuls passed away tranquilly at his residence in the south of France.

In 1988, Ophuls received an Academy Award, along with accolades from Cannes and Berlin film festivals, for the documentary titled “Hotel Terminus“, which clocked in at 4 hours and 27 minutes. This powerful film delved into the life of infamous figure Klaus Barbie, who was convicted in Bolivia of his Nazi war crimes in 1987.

One of Ophuls’ most recognized works was created nearly two decades prior, namely “The Sorrow and the Pity” (1969). This film delved into the authentic experiences of life under Nazi rule in the small industrial city of Clermont-Ferrand, France.

Over a period exceeding two years, Ophuls meticulously gathered over 60 hours of video material that was eventually transformed into the four-hour, eleven-minute film. This production detailed France’s cooperation with Nazi Germany during this time. (While some within the country supported Hitler and others resisted, the majority simply followed along.)

The film titled “Sorrow and the Pity” resonated so deeply within France, it wasn’t screened in the nation for twelve years following its completion.

In 2000, Ophuls stated to The New York Times that many French individuals still perceive it as sending a ‘message’ regarding the French conduct. It would be arrogant, foolish, and accusatory – to issue a statement about a nation that had been vanquished and was forced to endure such circumstances for four years.

As a gamer, I didn’t create this scenario with the intention of making France collaborate. In moments of extreme peril, tough choices between life and death must be made. It’s a heavy burden to expect someone to rise as a hero. Remember, not everyone is called to be one, neither should you or others feel compelled to take on such a role.

In The New Yorker, Pauline Kael referred to Sorrow and the Pity as an exceptionally challenging movie. Meanwhile, in Life magazine, Richard Schickel characterized it as a remarkable account of humanity.

In Woody Allen’s movie “Annie Hall,” the film “The Sorrow and the Pity” plays a significant role: It’s the movie that Alvy Singer, played by Woody Allen himself, takes his unwilling girlfriend (portrayed by Diane Keaton) to watch in a cinema, and at the end of the story, she brings her new partner to see it as well. Also noteworthy is the appearance of Marshall McLuhan in the theater scene.

As a devotee, I can’t help but acknowledge the impactful documentaries that Marcel Ophuls has created beyond the renowned The Sorrow and the Pity. For instance, he delved into the Protestant-Catholic clash in Belfast with his work, A Sense of Loss (1972). Similarly, he devoted nearly 4 1/2 hours to exploring the Nuremberg trials and the Vietnam War through his piece, The Memory of Justice (1976). Lastly, in Veillees d’armes (1994), he shed light on the harrowing experiences of journalists under siege in Sarejevo.

1927 saw the birth of Ophuls in Frankfurt, Germany. In 1933, he and his family were forced to leave their home, eventually finding refuge in Paris. However, when the Nazis invaded Paris in 1940, they had to flee once more. They finally established themselves in Los Angeles in 1941.

At Hollywood High School, Ophuls played a minor role as a Hitler Youth member in the U.S. Army-produced film, “Prelude to War” (1942), directed by Frank Capra. Following this, he studied at Occidental College and UC Berkeley, with a break for service with the U.S. Army’s theater group in between.

As a bilingual film enthusiast fluent in both French and German, I found my way into the world of cinema by working alongside esteemed directors such as John Huston and Anatole Litvak. I lent my skills to Huston’s “Moulin Rouge” (1952), and aided my father on the production of “Lola Montes” (1955) following our family’s return to France.

As a movie enthusiast, I found myself employed at a German television station in Baden-Baden, where I created a short film about the renowned painter Henri Matisse. During my father’s funeral in 1957, I had the fortune of being introduced to the French cinematic icon Francois Truffaut. Touched by our encounter, he offered me an incredible opportunity to write and direct one of the five segments in his groundbreaking film, “Love at Twenty” (1962).

Via Truffaut, Ophuls became acquainted with notable French actors Jean-Paul Belmondo and Jeanne Moreau. In turn, these stars featured as the main characters in Ophuls’ debut film, a comedy titled “Banana Peel” which was released in 1963.

He also contributed to the script and directed the film “Fire at Will” (1965), an exciting global mystery featuring a group of female spies, with American expatriate Eddie Constantine playing the role of an FBI agent.

Marcel Ophüls made his debut in creating documentary films with the production titled “Munich or Peace in Our Time” (1967), which was produced for German broadcasting as well.

In the production of “Hotel Terminus,” Ophuls utilized over 120 hours of conversations with ex-Nazis, U.S. intelligence personnel, South American political figures, victims of Nazi crimes, and eyewitnesses, to create a film chronicling the notorious “Butcher of Lyon.

After that, I found myself diving into the world of journalism, working for CBS News and contributing to ABC’s newsmagazine 20/20. Simultaneously, I had the honor of teaching at Princeton University. In 1995, I was humbled to receive a career achievement award from the International Documentary Association. As I look back, it feels like I’ve leveled up quite a bit!

Mike Barnes contributed to this report.

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2025-05-26 15:54