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Sunshine and Judges Who Sell Out
by Michael Asimow Sunshine is an overpowering chronicle
of an entire century of Hungarian history. Over the twentieth century, Hungary careens
from monarchy to communism to fascism back to communism and finally emerges at the other
end to an uncertain future.
We experience this century of nearly unrelieved misery through the
lives of three generations of a Jewish family named Sonnsenschein, ironically meaning the Sunshine The Sonnenschein family, always loyal to their country and to the
government in power, glides steadily away from its Judaism. Desperate to assimilate into
the country they love, the family first changes its name to Sors, then converts to
Catholicism. In the Holocaust, and in the Communist government that follows the War, this
religious conversion makes no difference at all. They are Jews and only Jews. Their
loyalty to Hungary is always repaid by betrayal. Ralph Fiennes plays the male lead in each of the three
generations: he's Ignatz Sonnenschein/Sors, a judge under the Hapsburg emperor; his son
Adam Sors, an Olympic fencing champion trapped by the Holocaust; and his son Ivan Sors,
Holocaust survivor, lawyer and interrogator for the Communist police, and ultimately a
rebel against the Communists. Ivan changes his name back to Sonnenschein and seems ready
to return to Judaism. I don't believe you'll soon forget the power of Fiennes' acting. I
thought he was stunning in the three roles. Just as unforgettable was the character of
Valerie Sonnenschein, Ignatz's cousin and also his wife, played as a captivating young
woman by Jennifer Ehle and as an inspiring old woman by Rosemary Harris. The character of
Valerie knits together the stories of all three generations. But this website concentrates on law, so let's focus on the first
generation--Ignatz Sonnenschein, brilliant and ambitious judge for Emperor Franz Joseph.
He believes wholeheartedly in the monarchy and its phony promise of liberal change. He
impatiently brushes aside the passionate Socialist arguments of his brother Gustave.
Gustave claims that Ignatz is overlooking the rampant corruption of the regime, not to
mention the ordinary people starving in the streets. Once, Ignatz even meets with the
Emperor, certainly the proudest day of his life. Later, in order to be promoted, Ignatz has to change his name to
Sors. A Jew could be a judge in those years, but couldn't have a Jewish name. Once more,
Ignatz makes the fateful choice, moving ever further from his roots into a doomed
assimilationism. Ignatz serves as a military judge during World War I and is decorated for
bravery. As he ages, he becomes steadily colder and harsher, less able to express emotion.
Ultimately, his wife leaves him. And in the Communist government that seizes power in
Hungary on the collapse of the Empire, Ignatz is disgraced and publicly humiliated. His
beloved country casts him aside like so much rubbish. Not long after, he is dead. The character of Ignatz is reminiscent of perhaps the most famous
sold-out judge in the history of film, Ernst Janning (Burt Lancaster) in Judgment at
Nuremberg (1961). Janning also was brilliant and ambitious, a famous professor and
legal scholar, a drafter of the liberal Weimar constitution. When Hitler came to power,
Janning remained a judge, unlike his colleague and mentor Dr. Wieck who resigned rather
than wear the swastika on his robes. Even though he loathed the Nazis and Hitler personally, Janning
stayed on the bench and administered the hateful laws of the Third Reich. Janning was
partly ambitious, but partly he hoped that he could save more innocent people if he stayed
on the bench instead of being replaced by some Nazi thug. And perhaps he did save some
people. But in the notorious Feldenstein case, Janning was instructed by
the local Nazi party bosses that he must convict an elderly Jew of having sex with an
young Aryan woman in violation of the Nuremberg laws. Feldenstein was entirely innocent,
but Janning carried out his orders and Feldenstein was shot. For that single case, he was How often are judges corrupted by the power structure or swayed by
demands of military authorities? Do we have to look further than the shameful Korematsu
case in which the U. S. Supreme Court upheld the Japanese internment during World War
II? Or to the way South African judges provided the legal underpinning for the abuses of
the loathsome apartheid regime? Or to the ongoing scandal of campaign contributions to
judges who must stand for election, a system that allows litigants to purchase the favor
of state Supreme Court justices? Or to judges who administer without protest the draconian
minimum sentences for trivial drug offenses or the incredibly punitive "three
strikes" laws? Once again, a work of popular culture sounds themes that resonate
deeply in our lives. Sunshine is such a film. Its treatment of the themes of
patriotism, acculturation and assimilation is profound. The concentration camp scenes are
as graphic and terrible as any you'll ever see. And the story of the sold out judge, while
not the main focus of this gripping film, is timeless. Michael Asimow, of UCLA Law School, is co-author with Paul Bergman of Reel Justice: The Courtroom Goes to the Movies (1996), available at local bookstores or through amazon.com. Prof. Asimow has published and article entitled "Bad Lawyers in the Movies" - Vol. 24 of Nova Law Review. Michael Asimow's email address is asimow@law.ucla.edu.
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