‘Art Spiegelman: Disaster Is My Muse’ Review: ‘Maus’ Cartoonist Grapples with the Weight of His Most Seminal Work

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Art Spiegelman, a cartoonist who learned efficient packing techniques from his Holocaust-survivor father, applied this skill to the compact design of his hand-drawn comic panels, where information is communicated concisely. Renowned in the comics world, Spiegelman is most recognized for “Maus,” a two-volume graphic novel about the Holocaust. In this work, Nazis are portrayed as cats and Jews as mice, primarily inspired by his father’s personal experiences and Spiegelman’s struggle to process the inherited trauma from both parents. The widespread acclaim that followed “Maus” subsequently added another layer of distress for Spiegelman.

The documentary “Art Spiegelman: Disaster as My Muse,” directed by Molly Bernstein and Philip Dolin, is a chronological journey tracing the development of Art Spiegelman’s comic career, from its origins in underground publications to its acceptance into mainstream culture. This traditional biography also serves as a narrative about how comics evolved from primarily being seen as a source of humor to becoming a medium capable of telling stories of various tones and scales – a transformation that “Maus” significantly contributed to.

A captivating orator skillfully blends witty and self-effacing jokes with personal stories of influential experiences, swinging between joy and sorrow. Spiegelman vividly recalls both the comical Mad Magazine issue that sparked his passion for graphic storytelling, as well as the distressing day when his mother took her own life (an event that also served as inspiration for a deeply personal comic titled “The Prisoner on the Hell Planet.”). Similarly, his complex relationship with his father, Vladek Spiegelman, formed the basis of his quest to comprehend the pain he endured during his time in a concentration camp. Sharing the weight of unimaginable hardships may have brought them closer together.

Through his numerous conversations on-camera with Bernstein and Dolin, it becomes clear that the turmoil and emotional struggles within him significantly influence the stories he writes. These narratives, in a sense, are born out of his internal experiences. Articadingly, much of Spiegelman’s work appears to be autobiographical in nature. As he chronicles his journey towards a successful career, key figures such as underground cartoonist Robert Crumb and his wife Françoise Mouly, an editor at the New Yorker, emerge as significant contributors to this narrative.

People who are closely acquainted with him and his methods acknowledge that Spiegelman’s functional neuroticism is instrumental, consistently resulting in sharp observations about the world, encompassing both its beauty and chaos (with a focus on the chaotic aspects in his comics). Implicitly, the filmmakers permit Spiegelman to honor his role models and peers by positioning his work within a group or a “tribe” sharing similar perspectives on the potential of comics, rather than depicting him as a solitary genius.

Among the interviewees, film critic J. Hoberman, who knew Spiegelman when they were young, describes his comic creation method as similar to how Jean-Luc Godard regarded cinema: as a form he studied so intricately that he aimed to dismantle and analyze it down to its most fundamental abstract elements. The account of Spiegelman’s life and career reveals that cinema held a significant role in the background of his work, especially through his friendship with New York experimental filmmaker Ken Jacobs, the father of Azazel Jacobs (“His Three Daughters”) – both figures make brief appearances.

When it comes to the innovative work of Art Spiegelman, his impact in the field is undeniable, and the interwoven aspects of his career path are noteworthy. One might expect a tribute to his boundary-pushing body of work to venture into more experimental territories. However, though the comics themselves are prominently displayed on screen in their stationary form, the documentary remains well-crafted and engaging, but it doesn’t take many risks. Among the complex topics discussed, Spiegelman’s inner struggle with gaining fame through a story that delves into humanity’s deepest darkness rings true. Regrettably, “Maus” remains as relevant today as ever, casting a long shadow over Spiegelman as an enduring, career-defining masterpiece.

Towards the end of this masterpiece, the artist powerfully underscores its relevance as a poignant anti-fascist testament to historical memory, standing firm against the book-banning policies of the Trump administration whose actions, such as mass deportations and targeted discrimination, eerily echo those of Nazi Germany during World War II. As a Jew with personal ties to the atrocities committed by the Nazis, Spiegelman has recently joined forces with author Joe Sacco in creating a three-page comic that sheds light on the troubling situation in Gaza. Throughout his journey, Spiegelman continues to be driven by the sobering truth that the personal and collective trauma he’s addressing is far from over.

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2025-02-25 14:46