Anne Frank visits FX
"American Horror Story" takes on the Holocaust with a Mengele-like storyline. Against all odds, it works
Topics: American Horror Story Asylum, televsion, Ryan Murphy, Nazis, Holocaust, American Horror Story, TV, anne frank, Entertainment News
Of all the people I trust to assemble a fiction about the possibility that Anne Frank survived the Holocaust, Ryan Murphy is not high up on the list. Philip Roth? Fine. The guy who has made multiple episodes of musical television all but canonizing Britney Spears? I don’t know. But in last night’s “American Horror Story,” in which a woman who may or may not be Anne Frank got herself locked up in an insane asylum and — no half measures here — wrote to Kitty about it, that’s just what Ryan Murphy did. The results were wild, ludicrous, unconcerned with taste and propriety and, against all odds, fantastic. The Holocaust fits snugly into “American Horror Story’s” purview.
In the episode’s opening scene, Franke Potente (“Run Lola Run,” the first “Bourne”) was locked up at Briarcliff for stabbing a man who had made anti-Semitic remarks at a bar. Upon seeing Dr. Arden (James Cromwell), the micro-penised sadist who has been conducting invasive, Dr. Mengele–style medical procedures all season, including chopping off Chloe Sevigny’s legs, she immediately recognized him as a Nazi doctor who had worked at Auschwitz. Screaming and slapping him, she was dragged away as she belted out her name: Anne Frank. Anne, flashing the numbers tattooed to her arm, then told her story to Sister Jude, trying to convince her of Dr. Arden’s Nazi past. She had barely lived, married an American GI, and kept her survival a secret because by the time her diary was published, it seemed to her she could do more as an officially dead martyr than as a living person. Her story may be bogus, or it may not be. She’s locked up in the loony bin, but Sister Jude’s superior called Dr. Arden to tell him “they were on to him.”
“American Horror Story” used black-and-white faux-“newsreel” footage to stand in for Anne’s memories of a young Arden at Auschwitz. These flashbacks — Arden studying twin boys in a rail car, walking into a barracks where emaciated, shorn-headed women crowded in on bunks — were sound-tracked by that old-fashioned tick-tick-tick, whoosing sound newsreel film makes as it speeds through a projector. Why? These scenes were explicitly supposed to be Anne’s memories, moments at which there would have been no cameras present.
Willa Paskin is Salon's staff TV writer. More Willa Paskin.




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