‘The Disappearance of Josef Mengele’ Review: A Post-War Study of the Nazis’ ‘Angel of Death’ Lacks Dimension

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In “The Disappearance of Josef Mengele,” Russian filmmaker Kirill Serebrennikov explores the fragile edges of democracy and the rapid spread of fascism once again. The post-WWII biopic, shot in black and white, carries multiple themes, including a compelling character study of August Diehl’s performance as Mengele, an international story of evasion, and subtle indications of political manipulations at play. However, the film’s narrative becomes difficult to navigate due to Serebrennikov’s somewhat disorganized approach.

In the beginning of the movie, we find ourselves in the 21st century where the fate of a former Nazi war criminal is explored. Medical students in Brazil are examining his remains, and among them are a set of African-American twins. The professor mentions Mengele’s obsession with identical siblings, which sets up tense scenes throughout the film and injects this post-mortem examination with dramatic irony. Mengele would have despised his final state; it’s almost like seeing justice served as he becomes mere parts on a table. However, the events that unfold afterward lack the impact needed to justify such an intense introduction.

In a screenplay inspired by Olivier Guez’s factual book, Director Serebrennikov uses a nonlinear narrative that lacks clear purpose. The story presents Mengele (Diehl), nicknamed the “angel of death” during the Third Reich era, living covertly in 1950s Argentina. Through the lens of the camera, we follow Mengele’s attempts to return to Europe, which instills a feeling of unease. Simultaneously, Mengele appears as a ghostly symbol of justice pursuing his quarry. Initially, these captivating touches hold promise; however, they soon dissipate as the film adopts predictable patterns, echoing Serebrennikov’s latest work (“Limonov: The Ballad”). Regrettably, politics serve merely as a backdrop for personal matters, instead of being integral to the story itself.

The movie ‘The Disappearance of Josef Mengele’ largely follows Mengele’s movements across several South American countries, such as Nazi-sympathetic Argentina under Juan Perón and later military-controlled Brazil, from the 1950s to the 1970s. The film suggests the continuation of fascist ideologies in the 20th century, though it often falls short of making a clear statement, with such ideas usually fading into the distance (typically through radio broadcasts). Instead of serving as a backdrop to explore Mengele, the film’s frequent shifts between events highlight key moments in his life, like his marriage to his late brother’s widow, his dynamic with his domineering father, and ultimately, his adult son Rolf’s (Max Bretschneider) attempts to reconnect with him. However, these factual details become so prominent that they overshadow any larger theme or seamless cinematic transition between time periods.

I found the movie particularly impactful when it delved into Mengele’s Nazi past, around halfway through its duration. This segment was depicted using authentic color footage, presented as gritty, old-style film clips shot by the Nazis. The sheer brutality portrayed in these images was truly nauseating and served as a crucial backdrop for later scenes where the aging, elusive Mengele is compelled to face his heinous misdeeds. Diehl, under layers of aged makeup, skillfully unearthed the chilling dualities within Mengele – his compartmentalizations and contradictions that often surfaced with an unexpected, almost comical sense of self-awareness (Mengele despised the notion that he might one day be dramatized in a film). This portrayal made the character even more pitiful.

Nevertheless, these instances seem insufficiently impactful, coming across as happening too late and not carrying enough weight. To illustrate, consider a common trope in contemporary films about human atrocities – from the 2013 documentary “The Act of Killing” on the Indonesian genocide, to recent World War II dramas like “Oppenheimer” and “The Zone of Interest”. In these movies, a character faced with the reality of their mass killings often collapses and vomits, symbolizing an inadequate effort to purge their guilt. This scene repeats here, but lacks the necessary lead-up that would make Mengele’s sudden nausea more profound. Instead, it feels like a standalone moment, not effectively tying into all the earlier drama.

Much like Mengele’s sinister obsessions, they are mere details subtly incorporated into Serebrennikov’s portrait, surfacing occasionally instead of serving as defining traits. His torment, depicted intermittently across multiple timelines, does not typically form a clear narrative about a man haunted by his own ghosts (though there are frequent hints at Mossad tracking down other Nazi leaders). Diehl skillfully portrays a character abhorrent to the senses – in subtle, creepy ways – through his hunched posture that suggests a man resigned to being seen. However, the film often fails to fully reveal this underbelly.

The Movie ‘Josef Mengele’s Disappearance’ fails to fully develop a reprehensible character. Strangely, its focus seems overly focused on logistical aspects, which is surprising for someone whose calculating actions hid a more grotesquely human mosaic. This creates a film that hints at intricate complexity but only leaves viewers indifferent.

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2025-05-21 01:53