The Hidden Life Of Otto Frank
by Carol Ann Lee
Reviewed by Walter Reich
Otto Frank with his daughters Margot, left, and Anne | of the pectin sales to the Germans - | |||||
“kept his silence.” | ||||||
7 | But the most protracted period of | |||||
payoffs, Lee suggests, took place in | ||||||
the 1960s, after Otto had become a | ||||||
public figure as a result of Anne’s | ||||||
diary. However, a more important | ||||||
dimension to Otto’s life, and one that | ||||||
had a direct bearing on Anne’s diary, | ||||||
was the way in which he edited it and | ||||||
shaped its career. Lee shows how | ||||||
decisions that Otto made about editing | ||||||
the diary, finding a publisher, arranging | ||||||
for foreign translations, and having it | ||||||
turned into a play and a movie, | ||||||
determined how Anne’s story would be | ||||||
told. Otto’s sense of himself as an | ||||||
assimilated Jew likely affected these | ||||||
decisions, as did his sense of what | ||||||
should be said by and about Anne. | ||||||
8 | In editing the diary Otto removed | |||||
some of Anne’s critical comments | ||||||
1 | In The Hidden Life Of Otto Frank, the | about her mother and some of her | ||||
first biography of Anne Frank’s father, | references to her own sexuality. He | |||||
Carol Ann Lee offers us a scoop: the | also diminished, somewhat, her focus | |||||
name of the man who, she says, told | on her Jewishness. But it was in his | |||||
the Germans where the Frank family | choice of writers for the stage | |||||
was hiding during the Holocaust. But | adaptation that he most significantly | |||||
buried behind the scoop is an account | distanced Anne from her Jewish roots | |||||
of how Otto shaped and in some ways | and leached from her story the dark | |||||
distorted Anne’s story and her public | themes that, in the diary, were plainly a | |||||
image after her diary was found. | part of it. | |||||
2 | First the scoop. Who betrayed the | 9 | He chose Frances Goodrich and | |||
Frank family? Based on archival | Albert Hackett, Hollywood | |||||
research and interviews, Lee has | screenwriters whose credits included | |||||
fingered Anton Ahlers, a thuggish | It’s A Wonderful Life. Not surprisingly, | |||||
Dutch Nazi and violent anti-semite, and | they crafted a sentimental and upbeat | |||||
said that he probably did it for the | play. And the play’s director, Garson | |||||
reward the Germans were giving to | Kanin, wanted Anne’s focus on Jewish | |||||
those who turned in Jews. | suffering to be translated into human | |||||
3 | In the course of writing about Ahlers, | suffering in general. Lee notes that, | ||||
Lee also tells us about his relationship | under Kanin’s direction, “almost all | |||||
with Otto. It turns out, according to | references to Jews and Jewish | |||||
Lee, that Ahlers, a chronic blackmailer, | suffering were erased.” | |||||
victimized Otto repeatedly. One of | 10 | With regard to maximizing the | ||||
these occasions was in 1941, after the | audience for Anne’s story and making | |||||
Germans occupied the Netherlands but | it universally embraceable, at least in | |||||
before the Franks went into hiding. He | those early years after the Holocaust, | |||||
showed Otto a letter to Dutch Nazi | Otto’s instincts may have been right. | |||||
Party officials in which one of Otto’s | The diary has reportedly sold more | |||||
former employees denounced him for | than 31m copies in 67 languages. The | |||||
having made unflattering remarks | annual number of visitors to the Anne | |||||
about the German military and asking | Frank House in Amsterdam is | |||||
that “the Jew Frank” be arrested; Otto | approaching a million. | |||||
paid Ahlers off and took the letter. | 11 | But is audience all? Anne had to go | ||||
4 | Otto paid Ahlers off again, though | into hiding only because she was a | ||||
not with money, in 1945, after returning | Jew. She was betrayed only because | |||||
from Auschwitz. By that time the Dutch | she was a Jew. She was sent to her | |||||
were arresting collaborators, and | death only because she was a Jew. To | |||||
Ahlers was picked up. Otto wrote to the | soft-pedal her Jewishness is to deny | |||||
authorities, telling them that Ahlers had | the reality of her fate. | |||||
helped him by giving him the | 12 | Moreover, after arrest, Anne’s life | ||||
denunciatory letter but not mentioning | wasn’t uplifting or inspiring at all. A | |||||
that he had paid Ahlers for it. | witness who saw Anne and her sister, | |||||
5 | Why did Otto do this? Because of | Margot, in Bergen-Belsen described | ||||
another hidden part of his life, Lee | them as “two scrawny threadbare | |||||
suggests. She contends that he was | figures” who “looked like little birds”. | |||||
afraid that Ahlers would divulge to the | They contracted typhus and died soon | |||||
Dutch authorities that he had done | after. | |||||
business with the Germans before | 13 | Otto may have been right that, in his | ||||
going into hiding. | time, the world preferred an uplifting | |||||
6 | Otto’s firm produced pectin, used in | and a universal Anne. Clearly, as we | ||||
making jam, and he apparently sold | can see in Lee’s biography, he had | |||||
some of it to the Germans. More than | those preferences himself. One hopes, | |||||
80 percent of Dutch firms did business | though, that in the decades since | |||||
with the Germans, and selling pectin | Bergen-Belsen and Auschwitz, during | |||||
was neither important to the German | which we have witnessed repeated | |||||
war effort nor significant business. Still, | genocides, we can stare such horror in | |||||
it was business, and Lee argues that | the eyes and recognize its face without | |||||
Otto felt vulnerable on that account | the need to universalize the victim or | |||||
after the war. The letters Otto sent to | transform the horror into consolation | |||||
the authorities for Ahlers, Lee writes, | and kitsch. | |||||
“would ensure that Ahlers” - who knew | The Washington Post |