Browse content similar to Woman in Gold. Check below for episodes and series from the same categories and more!
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IN GERMAN: | 0:01:03 | 0:01:06 | |
My sister, Luise, we really loved each other, | 0:01:47 | 0:01:50 | |
but the truth is we were always competing. | 0:01:50 | 0:01:52 | |
If life is a race, then she has beaten me to the finishing line. | 0:01:52 | 0:01:57 | |
But if it is a boxing match, | 0:01:57 | 0:01:59 | |
then I am the last one standing. | 0:01:59 | 0:02:01 | |
THEY CHUCKLE | 0:02:01 | 0:02:03 | |
Either way, we went through a great deal together, | 0:02:05 | 0:02:08 | |
and I will miss you. | 0:02:08 | 0:02:10 | |
IN GERMAN: | 0:02:17 | 0:02:19 | |
Barbara, thank you so much for coming. It means a lot to me. | 0:02:21 | 0:02:25 | |
Our families go back a long way. | 0:02:25 | 0:02:28 | |
Your son, the lawyer, how is he? | 0:02:28 | 0:02:30 | |
Oh, struggling, I'm afraid. | 0:02:30 | 0:02:32 | |
After law school, he went to work for a fancy firm, | 0:02:32 | 0:02:35 | |
and then decided to go out on his own in Pasadena. | 0:02:35 | 0:02:38 | |
-And what happened? -It all fell apart. | 0:02:38 | 0:02:41 | |
Add those debts to seven years of student loans, and things aren't great. | 0:02:41 | 0:02:45 | |
Oh, I'm so sorry to hear that. | 0:02:45 | 0:02:47 | |
You need a lawyer? | 0:02:47 | 0:02:49 | |
Just some letters I found in my sister's belongings. | 0:02:49 | 0:02:52 | |
I need advice from someone I can trust. | 0:02:52 | 0:02:54 | |
I'll have him call you. | 0:02:54 | 0:02:56 | |
I really feel... | 0:03:01 | 0:03:03 | |
I really feel like, with a firm such as this, sir, | 0:03:03 | 0:03:07 | |
that I would be | 0:03:07 | 0:03:08 | |
ready and willing to... PHONE RINGS | 0:03:08 | 0:03:10 | |
Hello? | 0:03:14 | 0:03:15 | |
No, not a, not a, not a good time, Mom. | 0:03:15 | 0:03:17 | |
Not a good time - I'll call, call you later. | 0:03:17 | 0:03:19 | |
Hi, Randy Schoenberg here to see Bergen, Brown and Sherman. | 0:03:36 | 0:03:39 | |
OK. | 0:03:39 | 0:03:41 | |
I'd like to make the most of the opportunities offered here. | 0:03:41 | 0:03:43 | |
With a firm as impressive as this, I'd be extremely motivated | 0:03:43 | 0:03:46 | |
to deliver my very best each and every day. | 0:03:46 | 0:03:48 | |
You any relation to the famous composer, Schoenberg? | 0:03:48 | 0:03:50 | |
Arnold was my grandfather, sir. | 0:03:50 | 0:03:52 | |
But he died before I was born. | 0:03:52 | 0:03:54 | |
His music demands a certain quality of application. | 0:03:54 | 0:03:57 | |
But the rewards validate the effort. | 0:03:57 | 0:04:00 | |
One of the things I'd most look forward to about, uh, | 0:04:00 | 0:04:02 | |
working here is exploring your larger scale... | 0:04:02 | 0:04:04 | |
And Judge Schoenberg is your father. | 0:04:04 | 0:04:06 | |
Retired now, yes, sir. | 0:04:06 | 0:04:08 | |
Outstanding lineage, Mr Schoenberg. | 0:04:08 | 0:04:10 | |
Yes, sir. | 0:04:10 | 0:04:12 | |
What happened in Pasadena? | 0:04:12 | 0:04:15 | |
Well, I took a risk. | 0:04:15 | 0:04:16 | |
Set up my own law firm, and it didn't pay off. You know. | 0:04:16 | 0:04:20 | |
Working for yourself isn't all it's hyped up to be. | 0:04:20 | 0:04:21 | |
So now you're ready to work with others? | 0:04:21 | 0:04:24 | |
Yes, sir. | 0:04:24 | 0:04:25 | |
Well, let's give it a go, Mr Schoenberg. | 0:04:31 | 0:04:33 | |
Thanks, Mom(!) | 0:04:39 | 0:04:41 | |
I was expecting you at six. It's ten past. | 0:04:48 | 0:04:51 | |
My apologies, Mrs Altmann. It was gridlock on Wilshire. | 0:04:51 | 0:04:54 | |
You look tired and stressed, but you're not bad-looking. | 0:04:54 | 0:04:57 | |
-You were such a skinny boy. -Thank you. | 0:04:57 | 0:04:59 | |
So, what do you know about art restitution? | 0:04:59 | 0:05:02 | |
Not a thing. | 0:05:02 | 0:05:04 | |
Well, it's never too late to learn. | 0:05:04 | 0:05:06 | |
Why don't you come on inside? | 0:05:06 | 0:05:07 | |
Have some strudel. I made it specially for you. | 0:05:07 | 0:05:10 | |
My sister is the pretty little girl on the left, Luise. | 0:05:33 | 0:05:37 | |
And I am the moody one next to her. | 0:05:37 | 0:05:40 | |
My parents, Therese and Gustav. | 0:05:41 | 0:05:45 | |
My uncle Ferdinand, who owned a sugar company, | 0:05:45 | 0:05:49 | |
and his wife, Aunt Adele, who died so young. | 0:05:49 | 0:05:54 | |
Adele didn't have any children, | 0:05:56 | 0:05:57 | |
so we all lived together as one family. | 0:05:57 | 0:05:59 | |
In a way, I had two sets of parents. | 0:05:59 | 0:06:01 | |
LAUGHTER | 0:06:08 | 0:06:11 | |
The Bloch-Bauers. | 0:06:11 | 0:06:13 | |
I found these letters amongst my sister's belongings. | 0:06:15 | 0:06:19 | |
Look, I've translated them for you, on the back. | 0:06:19 | 0:06:21 | |
Hm. | 0:06:21 | 0:06:23 | |
1948? | 0:06:23 | 0:06:24 | |
From our family lawyer in Vienna, Johann Rinesch. | 0:06:24 | 0:06:27 | |
All about our paintings that were stolen by the Nazis. | 0:06:27 | 0:06:31 | |
OK. | 0:06:32 | 0:06:33 | |
I read in The New York Times | 0:06:33 | 0:06:35 | |
that things are changing in Austria. | 0:06:35 | 0:06:37 | |
How are they changing? | 0:06:37 | 0:06:38 | |
They're redrafting the art restitution laws. | 0:06:38 | 0:06:41 | |
Reviewing old cases. | 0:06:41 | 0:06:43 | |
My sister finally moves in with me. | 0:06:47 | 0:06:49 | |
The only problem is she decides to do it when she's dead. | 0:06:49 | 0:06:53 | |
Well, at least you won't be having any arguments that way. | 0:06:53 | 0:06:56 | |
HE CHUCKLES | 0:06:56 | 0:06:57 | |
What I mean is-is that, you know how roommates, | 0:06:59 | 0:07:01 | |
they tend to argue about dishes in the sink and stuff and | 0:07:01 | 0:07:04 | |
you won't be having any arguments, | 0:07:04 | 0:07:06 | |
because, about dishes, cos, you know... | 0:07:06 | 0:07:09 | |
cos she's dead. | 0:07:09 | 0:07:10 | |
So... | 0:07:10 | 0:07:12 | |
I'm so sorry. I'm I was... | 0:07:12 | 0:07:13 | |
I was making a joke and it didn't, uh... | 0:07:13 | 0:07:16 | |
Ah, here she is. | 0:07:16 | 0:07:17 | |
My Aunt Adele. | 0:07:18 | 0:07:21 | |
My uncle commissioned Gustav Klimt to paint her. | 0:07:22 | 0:07:25 | |
That's quite a painting. | 0:07:27 | 0:07:28 | |
It's magnificent. | 0:07:28 | 0:07:30 | |
She was taken off the walls of our home by the Nazis, | 0:07:31 | 0:07:34 | |
and since then, she's been hanging | 0:07:34 | 0:07:37 | |
in the Belvedere Gallery in Vienna. | 0:07:37 | 0:07:39 | |
And now you'd like to be reunited. | 0:07:39 | 0:07:40 | |
Wouldn't that be lovely? | 0:07:42 | 0:07:43 | |
Make you a rich woman, I'm sure. | 0:07:43 | 0:07:46 | |
You think that's what this is about? | 0:07:46 | 0:07:48 | |
No, I have to do what I can to keep these memories alive. | 0:07:50 | 0:07:54 | |
Because people forget, you see. | 0:07:57 | 0:07:59 | |
Especially the young. | 0:08:00 | 0:08:01 | |
And then, of course, there's justice. | 0:08:06 | 0:08:10 | |
I bored you to tears tonight. | 0:08:13 | 0:08:16 | |
Four times you looked at your watch. | 0:08:16 | 0:08:18 | |
You know, this was a test and we both failed. | 0:08:20 | 0:08:23 | |
I'm sorry. I-I-I'm sorry I wasted your time. | 0:08:23 | 0:08:27 | |
I got a new job today. | 0:08:27 | 0:08:28 | |
A baby that keeps me up at night, a wife I want to make happy. | 0:08:28 | 0:08:31 | |
So why would you be interested in ancient history? | 0:08:31 | 0:08:35 | |
Goodbye, my dear. | 0:08:36 | 0:08:37 | |
Struwwelpeter. | 0:08:39 | 0:08:40 | |
Struwwelpeter, the book that you had in your hand. | 0:08:42 | 0:08:44 | |
My grandmother used to read that to me. | 0:08:44 | 0:08:46 | |
Terrifying. The one about the boy who gets swept away by the wind. | 0:08:46 | 0:08:51 | |
Into a terrible adventure. | 0:08:51 | 0:08:53 | |
Used to frighten me, too. | 0:08:53 | 0:08:55 | |
Why don't you just take a look at these, | 0:08:57 | 0:08:59 | |
and tell me if I have a case. | 0:08:59 | 0:09:01 | |
That's all I ask from you. | 0:09:01 | 0:09:02 | |
"11th of April, 1948. | 0:09:06 | 0:09:08 | |
"Dear Luise Bloch-Bauer" | 0:09:08 | 0:09:10 | |
That's her sister. | 0:09:10 | 0:09:12 | |
"The Austrian government has decided | 0:09:12 | 0:09:14 | |
"they will hold on to the Klimt portrait of your aunt | 0:09:14 | 0:09:16 | |
"and four other Klimts which they insist | 0:09:16 | 0:09:17 | |
"were bequeathed to the gallery in her will, | 0:09:17 | 0:09:20 | |
"a fact which they claim as incontestable. | 0:09:20 | 0:09:22 | |
"The will itself | 0:09:22 | 0:09:25 | |
"I have not seen | 0:09:25 | 0:09:28 | |
"despite my persistent attempts to do so. | 0:09:28 | 0:09:30 | |
"Yours sincerely, Johann Rinesch." | 0:09:30 | 0:09:33 | |
Her lawyer never saw the will? | 0:09:33 | 0:09:34 | |
Nobody saw the will. | 0:09:34 | 0:09:36 | |
Randy! | 0:09:46 | 0:09:47 | |
Hi, Mrs Altmann. Hi. | 0:09:47 | 0:09:49 | |
Uh, we just, we just need to photocopy these | 0:09:49 | 0:09:51 | |
just over here, OK? | 0:09:51 | 0:09:53 | |
Everybody here looks as if they're having nervous breakdowns. | 0:09:53 | 0:09:56 | |
They are, they are. | 0:09:56 | 0:09:58 | |
I was up till 3am. I did a little research for you. | 0:09:58 | 0:10:00 | |
I'm impressed. | 0:10:00 | 0:10:02 | |
Get someone on the ground in Vienna. For the first time in 50 years, they've opened up the archives, | 0:10:02 | 0:10:05 | |
so start by trying to find a copy of Adele's will. | 0:10:05 | 0:10:07 | |
-And then what? -The Austrian Ministry of Culture will set up a committee to review each case individually, | 0:10:07 | 0:10:11 | |
but you need to fill out an application for them to consider your claim by the end of next month | 0:10:11 | 0:10:14 | |
-at the latest. -Next month? -At the latest, yes, I've already sent away for the form. | 0:10:14 | 0:10:17 | |
Slow down. You can explain everything to me | 0:10:17 | 0:10:19 | |
-over lunch. -No. Mrs Altmann, I can't do lunch. | 0:10:19 | 0:10:22 | |
I know a very nice place. They do excellent rice pudding. | 0:10:22 | 0:10:25 | |
All right, these are three names | 0:10:27 | 0:10:29 | |
of the top restitution lawyers in America. | 0:10:29 | 0:10:32 | |
They're going to cost you, but without them it's a non-starter. | 0:10:32 | 0:10:34 | |
No, no, all I have is my shop, my bungalow and a little money | 0:10:34 | 0:10:37 | |
I saved up for a new dishwasher. | 0:10:37 | 0:10:39 | |
No, I can't go throwing cash at fancy lawyers. | 0:10:39 | 0:10:43 | |
Right, I-I have to go, so... | 0:10:43 | 0:10:46 | |
Can't you just help me out a little bit, on the side? | 0:10:46 | 0:10:48 | |
You know, like a hobby. | 0:10:48 | 0:10:50 | |
There is no "on the side" here, Maria. | 0:10:50 | 0:10:53 | |
This is a full-time job, this is not a hobby. | 0:10:53 | 0:10:55 | |
You are quite rude, you're a little uncouth, | 0:10:55 | 0:10:58 | |
and you are completely disinterested in the past. | 0:10:58 | 0:11:00 | |
And you have an unusual talent for making me feel good about myself. | 0:11:00 | 0:11:03 | |
But you have the connection. | 0:11:03 | 0:11:04 | |
What connection? | 0:11:05 | 0:11:07 | |
Family, Randy. | 0:11:07 | 0:11:09 | |
Your grandparents came here from Austria. | 0:11:09 | 0:11:12 | |
You see, we share the same history. | 0:11:12 | 0:11:16 | |
Oh, how can you see out of those glasses? | 0:11:16 | 0:11:18 | |
They're filthy. | 0:11:18 | 0:11:20 | |
Yes, that's better. Help you see more clearly. | 0:11:21 | 0:11:25 | |
I see this as a possible investment for the firm. | 0:11:55 | 0:11:58 | |
You really think a painting that ends up as a fridge magnet | 0:11:58 | 0:12:00 | |
will ever leave Austria? | 0:12:00 | 0:12:02 | |
I think it'd be a mistake not to take a look. | 0:12:02 | 0:12:03 | |
One week, max. | 0:12:05 | 0:12:07 | |
Thank you. Thank you, sir. | 0:12:07 | 0:12:09 | |
I want you back here on the third. | 0:12:09 | 0:12:11 | |
Uh, absolutely, sir. Thank you. | 0:12:11 | 0:12:13 | |
Still working? | 0:12:22 | 0:12:24 | |
-I'll close the shop only when I croak. -Big news. | 0:12:24 | 0:12:27 | |
I got the green light. I'm going to go over there, | 0:12:27 | 0:12:29 | |
I'm going to try to find the will, and then we'll take it from there. | 0:12:29 | 0:12:32 | |
Oh! Randy! | 0:12:32 | 0:12:34 | |
That's wonderful! | 0:12:34 | 0:12:35 | |
You're chomping at the bite all of a sudden. | 0:12:35 | 0:12:37 | |
Yes, I am. And I have another idea. | 0:12:37 | 0:12:40 | |
My mother sent this over. | 0:12:40 | 0:12:42 | |
There's an art restitution conference planned for later this month. | 0:12:42 | 0:12:45 | |
They're looking for speakers. I think you should be one of them. | 0:12:45 | 0:12:48 | |
-What are you talking about? -Elegant descendant | 0:12:48 | 0:12:50 | |
from one of the great Viennese families. | 0:12:50 | 0:12:51 | |
The press would love you. It would speed things up. | 0:12:51 | 0:12:54 | |
It'd apply pressure. | 0:12:54 | 0:12:56 | |
Well... | 0:12:56 | 0:12:57 | |
I love your enthusiasm, and, after all, I'm not a spring chicken. | 0:12:57 | 0:13:00 | |
We have to get a move on. | 0:13:00 | 0:13:02 | |
But I'm afraid, in your haste, there's been a misunderstanding. | 0:13:02 | 0:13:06 | |
How's that? | 0:13:06 | 0:13:07 | |
I'm not going back to that place. Not now, not ever. | 0:13:07 | 0:13:10 | |
I-I don't understand. | 0:13:10 | 0:13:12 | |
They destroyed my family, | 0:13:12 | 0:13:14 | |
they killed my friends, | 0:13:14 | 0:13:16 | |
and they forced me to abandon | 0:13:16 | 0:13:18 | |
the people and the places that I loved. | 0:13:18 | 0:13:21 | |
That was over a half a century ago. | 0:13:21 | 0:13:22 | |
You think that's a long time? | 0:13:22 | 0:13:24 | |
It would be a few days, that's it. We'd be in and out. | 0:13:24 | 0:13:27 | |
Randy, you're not listening to me. | 0:13:27 | 0:13:29 | |
I would rather die than go back there, | 0:13:29 | 0:13:31 | |
not for all the paintings in the world. | 0:13:31 | 0:13:33 | |
Anyway... A week ago, you weren't even interested in the case, | 0:13:35 | 0:13:38 | |
and now you're all over me like a rash. What happened? | 0:13:38 | 0:13:41 | |
Hmm. Against my better judgment, | 0:13:41 | 0:13:44 | |
I think I like you. | 0:13:44 | 0:13:46 | |
-'For how long? -Four or five days, a week at the most. | 0:13:54 | 0:13:56 | |
Depends on the reception I get. | 0:13:56 | 0:13:58 | |
What's your plan? | 0:13:58 | 0:14:00 | |
Dora, I'm not emigrating to the Congo, | 0:14:01 | 0:14:03 | |
I'm going to Austria for a few days, with the firm's blessing. | 0:14:03 | 0:14:06 | |
What do you think? | 0:14:06 | 0:14:08 | |
DORA COOS | 0:14:08 | 0:14:11 | |
I think that's a yes. | 0:14:11 | 0:14:14 | |
MAN SINGS IN GERMAN | 0:14:17 | 0:14:20 | |
MAN CONTINUES SINGING IN GERMAN | 0:14:35 | 0:14:38 | |
PHONE RINGS | 0:15:33 | 0:15:35 | |
-Hello? -I know it's the middle of the night, | 0:15:38 | 0:15:40 | |
but if I wait until the morning, | 0:15:40 | 0:15:42 | |
I might change my mind. | 0:15:42 | 0:15:44 | |
I have decided to face the ghosts. | 0:15:44 | 0:15:47 | |
Mm. | 0:15:49 | 0:15:50 | |
She's complicated. | 0:15:51 | 0:15:53 | |
Mm. | 0:15:55 | 0:15:56 | |
Oh, your mom called again this morning. | 0:16:10 | 0:16:12 | |
She wants you to visit the Holocaust Memorial when you're there. | 0:16:12 | 0:16:14 | |
-She mentioned it already, seven times. -Well, she said to do it in honour | 0:16:14 | 0:16:17 | |
-of your great-grandparents. -Siegmund and Malvina. | 0:16:17 | 0:16:20 | |
Oh, she had the most beautiful eyes, you know. | 0:16:20 | 0:16:22 | |
Enormous, like an owl. | 0:16:22 | 0:16:24 | |
This is an awfully big suitcase you've packed, Maria. | 0:16:24 | 0:16:26 | |
You sure you brought enough stuff? | 0:16:26 | 0:16:27 | |
If I'm going back, I might as well do it in style. | 0:16:27 | 0:16:29 | |
Pam, darling, could you drive a little faster? | 0:16:29 | 0:16:31 | |
I, uh, I think, at this rate, we're going to miss the plane. | 0:16:31 | 0:16:34 | |
-We're going to be there four hours early. -Yes, but I want to buy perfume and cognac in duty-free. | 0:16:34 | 0:16:38 | |
Look, move over there. | 0:16:38 | 0:16:40 | |
Pam, darling, move over. Move over now. | 0:16:40 | 0:16:42 | |
With pleasure, Mrs Altmann. | 0:16:42 | 0:16:44 | |
I never thought I'd come back. | 0:17:28 | 0:17:30 | |
Some guy from the Ministry's agreed to meet me tomorrow. | 0:17:51 | 0:17:54 | |
I'm sure he's in charge of paper clips. | 0:17:54 | 0:17:57 | |
We're lucky anyone has agreed to meet us at all. | 0:17:57 | 0:17:59 | |
You don't have to come, if you don't want to. | 0:17:59 | 0:18:01 | |
Oh, we haven't even arrived, | 0:18:01 | 0:18:03 | |
and you're already trying to get rid of me? | 0:18:03 | 0:18:05 | |
That's not what I said. I just meant you don't HAVE to come. | 0:18:05 | 0:18:07 | |
Anyway. I want to go to the Belvedere to visit my aunt. | 0:18:07 | 0:18:11 | |
You know, the postcard doesn't do her justice. | 0:18:11 | 0:18:14 | |
-You were born in Vienna, Mrs Altmann? -Yes, yes, I was, yes. | 0:18:41 | 0:18:44 | |
Uh, just around the corner, yes. | 0:18:44 | 0:18:45 | |
IN GERMAN: | 0:18:45 | 0:18:46 | |
Yes, but I choose to speak English. | 0:18:46 | 0:18:49 | |
I hope you enjoy your stay. | 0:18:49 | 0:18:50 | |
I'll certainly try. | 0:18:51 | 0:18:53 | |
SHE GASPS | 0:18:58 | 0:18:59 | |
There it is. | 0:18:59 | 0:19:02 | |
The apartment on the second floor - that's our home. | 0:19:02 | 0:19:05 | |
Oh, the things this house has seen, Randy. | 0:19:08 | 0:19:12 | |
Great artists, musicians, writers passed through those doors. | 0:19:12 | 0:19:17 | |
Including, of course, your grandfather. | 0:19:17 | 0:19:19 | |
And Dr Freud himself. | 0:19:19 | 0:19:22 | |
On my wedding night, half of Vienna was here. | 0:19:22 | 0:19:26 | |
Mrs Altmann? | 0:19:30 | 0:19:31 | |
I spotted your name on the list of speakers | 0:19:32 | 0:19:34 | |
for the restitution conference and tracked you down. | 0:19:34 | 0:19:36 | |
-And you are? -Hubertus Czernin, investigative reporter. | 0:19:36 | 0:19:40 | |
-Welcome to Vienna. -Thank you. | 0:19:40 | 0:19:42 | |
Can I buy you a drink? | 0:19:42 | 0:19:43 | |
Ah. | 0:19:48 | 0:19:49 | |
I'm the editor. | 0:19:49 | 0:19:52 | |
My little Austrian baby. Keeps me sane. | 0:19:52 | 0:19:54 | |
When I wrote a piece exposing the Nazi past | 0:19:55 | 0:19:58 | |
of our own President Waldheim | 0:19:58 | 0:19:59 | |
a man walked up to me in a supermarket and spat in my face. | 0:19:59 | 0:20:03 | |
He called me a traitor. | 0:20:03 | 0:20:05 | |
I said to him, "I'm a true Austrian." | 0:20:05 | 0:20:07 | |
And what makes you interested in a couple of... | 0:20:07 | 0:20:09 | |
Californian tourists, Mr Czernin? | 0:20:09 | 0:20:12 | |
I just thought you could do with an Austrian friend. | 0:20:12 | 0:20:15 | |
What for? | 0:20:15 | 0:20:16 | |
You know, this whole restitution thing began as a PR exercise. | 0:20:16 | 0:20:20 | |
Austria wanted to improve its image abroad, | 0:20:20 | 0:20:22 | |
but now it's turning into a Pandora's box. | 0:20:22 | 0:20:25 | |
They don't want to give away their treasures. | 0:20:25 | 0:20:27 | |
So they're going to put as many obstacles in your way as possible, | 0:20:27 | 0:20:30 | |
and I might just be able to help you get over some of them. | 0:20:30 | 0:20:33 | |
What's in it for you? What's your motive? | 0:20:33 | 0:20:36 | |
Let's just say it's a very particular brand of patriotism. | 0:20:37 | 0:20:40 | |
Now, if you will excuse me, | 0:20:40 | 0:20:43 | |
I think I will treat us to another round of drinks. | 0:20:43 | 0:20:45 | |
Oh, yes, that's a wonderful idea. | 0:20:45 | 0:20:47 | |
MAN SINGS ITALIAN ARIA | 0:21:09 | 0:21:12 | |
GUESTS LAUGH | 0:21:55 | 0:21:57 | |
Mazel tov! | 0:22:23 | 0:22:25 | |
ALL RESPOND IN GERMAN | 0:22:25 | 0:22:26 | |
'The restitution committee' | 0:24:58 | 0:25:00 | |
has decided your case is worthy of a review, Mrs Altmann. | 0:25:00 | 0:25:03 | |
Young Mr Schoenberg and I have travelled all this way, | 0:25:03 | 0:25:06 | |
so we would appreciate discussing the case | 0:25:06 | 0:25:08 | |
with the committee before they make the decision. | 0:25:08 | 0:25:10 | |
The committee does not interact with external parties. | 0:25:10 | 0:25:14 | |
And we are an external party, are we? | 0:25:14 | 0:25:16 | |
The paintings belonged to Mrs Altmann's family. | 0:25:16 | 0:25:19 | |
You must trust that all due procedures will be followed. | 0:25:19 | 0:25:22 | |
And now, if you don't mind, | 0:25:22 | 0:25:24 | |
I have a reception to go to. | 0:25:24 | 0:25:27 | |
Do enjoy your stay in our beautiful city. | 0:25:27 | 0:25:30 | |
It has been a real pleasure... | 0:25:30 | 0:25:33 | |
to meet you. | 0:25:33 | 0:25:35 | |
HE SIGHS How're you doing? | 0:25:45 | 0:25:47 | |
I don't know if I have the strength to deal with these people | 0:25:47 | 0:25:51 | |
and I've only been here a day. | 0:25:51 | 0:25:53 | |
Come on, let's go. | 0:25:55 | 0:25:57 | |
There's no way we're going to get a copy | 0:25:59 | 0:26:02 | |
of Adele's will before we have to leave. | 0:26:02 | 0:26:03 | |
No. The archive department was not exactly helpful. | 0:26:03 | 0:26:07 | |
Well, thankfully, I have what is commonly known | 0:26:07 | 0:26:09 | |
as a mole at the Belvedere. | 0:26:09 | 0:26:11 | |
Someone who can speed things up. | 0:26:11 | 0:26:13 | |
On Mondays, the museum is closed, | 0:26:13 | 0:26:15 | |
but my friendly mole will be waiting for you. | 0:26:15 | 0:26:17 | |
I hope you're not allergic to a little dust. | 0:26:17 | 0:26:20 | |
Now, didn't I tell you he was going to be useful, Randy? | 0:26:20 | 0:26:23 | |
Be patient, Maria. He's soon going to find out | 0:26:23 | 0:26:26 | |
that some Austrians are his friends, whatever their motives. | 0:26:26 | 0:26:30 | |
Keep working at it. | 0:26:30 | 0:26:31 | |
HUBERTUS CHUCKLES | 0:26:31 | 0:26:33 | |
MARIA SIGHS | 0:26:41 | 0:26:43 | |
Amalie Zuckerkandl. | 0:26:48 | 0:26:50 | |
Also painted by Klimt. | 0:26:50 | 0:26:52 | |
She was a friend of our family. | 0:26:52 | 0:26:54 | |
She died in a death camp. | 0:26:54 | 0:26:57 | |
Belzec, yes. | 0:26:57 | 0:26:59 | |
Mrs Altmann, your aunt is around this corner. | 0:27:00 | 0:27:03 | |
Are you ready for the reunion? | 0:27:03 | 0:27:04 | |
SHE GASPS | 0:27:15 | 0:27:17 | |
Rightly or wrongly, she has become embedded in Austria's identity. | 0:27:24 | 0:27:27 | |
A national icon. Adele has become part of the country's psyche. | 0:27:27 | 0:27:31 | |
Aunt Adele. | 0:27:31 | 0:27:33 | |
CROWD CHEERING, MARCHING BAND PLAYING | 0:28:32 | 0:28:34 | |
CHEERING GETS LOUDER | 0:28:54 | 0:28:56 | |
CELLO PLAYING GENTLE MINOR-KEY MELODY | 0:30:34 | 0:30:37 | |
HAMMERING ON DOOR | 0:32:46 | 0:32:47 | |
I could've searched for the family file on my own, you know. | 0:34:23 | 0:34:26 | |
I wasn't going to miss all the fun. | 0:34:26 | 0:34:28 | |
This is like a James Bond film, and you're Sean Connery. | 0:34:28 | 0:34:32 | |
Yeah. | 0:34:32 | 0:34:33 | |
-Hello. -I'm Anna. | 0:34:33 | 0:34:35 | |
-Hi. -Hello. | 0:34:35 | 0:34:36 | |
-It's an honour to meet you. -Thank you so much for doing this for us. | 0:34:36 | 0:34:40 | |
So you know Hubertus? | 0:34:40 | 0:34:42 | |
Everything from the museum records prior to 1972 | 0:34:42 | 0:34:45 | |
is held in the same room. | 0:34:45 | 0:34:46 | |
I think you're going to have a busy day. | 0:34:50 | 0:34:53 | |
Roll up your sleeves, Randy. | 0:34:57 | 0:34:59 | |
Tsk! | 0:35:08 | 0:35:10 | |
Congratulations. Quite a treasure trove of information. | 0:35:25 | 0:35:28 | |
Hubertus and I were up all night going over the file. | 0:35:28 | 0:35:31 | |
Well, I'm glad to see you're getting on so well together. | 0:35:31 | 0:35:33 | |
So now we can start | 0:35:33 | 0:35:34 | |
to actually put together a picture of what really happened. | 0:35:34 | 0:35:37 | |
Maria, you are the living link to the past. | 0:35:37 | 0:35:40 | |
Hanging on by my fingernails. | 0:35:40 | 0:35:41 | |
Tell us what you know. | 0:35:41 | 0:35:43 | |
Adele died in 1925. | 0:35:43 | 0:35:45 | |
Meningitis. She was only 43. | 0:35:45 | 0:35:47 | |
My Uncle Ferdinand was devastated. | 0:35:47 | 0:35:50 | |
And then, of course, the will, written in 1923, | 0:35:50 | 0:35:53 | |
two years before she died. | 0:35:53 | 0:35:55 | |
Her signature. Oh, my God. | 0:35:55 | 0:35:58 | |
I'll translate as accurately as I can. | 0:35:58 | 0:36:00 | |
"I kindly ask my husband | 0:36:00 | 0:36:02 | |
"to bequeath my portrait | 0:36:02 | 0:36:04 | |
"and the other Klimt paintings after his death | 0:36:04 | 0:36:06 | |
"to the Belvedere Gallery in Vienna." | 0:36:06 | 0:36:08 | |
So she did leave them to the gallery. | 0:36:12 | 0:36:13 | |
Oh, Randy, have we come all this way for nothing? | 0:36:13 | 0:36:17 | |
One step at a time, Maria. | 0:36:17 | 0:36:18 | |
She does, in fact, request for the paintings to go | 0:36:18 | 0:36:21 | |
to the Belvedere, but the request has a very specific condition attached to it. | 0:36:21 | 0:36:24 | |
She specifically asks the paintings | 0:36:24 | 0:36:25 | |
go to the Belvedere after Ferdinand's death. | 0:36:25 | 0:36:28 | |
Let's tell the story chronologically. | 0:36:28 | 0:36:30 | |
Maria, do you have any idea of what happened | 0:36:30 | 0:36:31 | |
to your family's property after you got away? | 0:36:31 | 0:36:33 | |
Not at all. Unlike Lot's wife, I never looked back. | 0:36:33 | 0:36:36 | |
Maybe now it's time to know. | 0:36:36 | 0:36:38 | |
After you escaped Austria, Maria, your home | 0:36:39 | 0:36:41 | |
became the scene of one of the great thefts of the time. | 0:36:41 | 0:36:44 | |
Your family's belongings | 0:36:46 | 0:36:48 | |
ended up in the hands of the most powerful | 0:36:48 | 0:36:50 | |
criminals of the Nazi elite. | 0:36:50 | 0:36:51 | |
All of our things, our personal things? | 0:36:51 | 0:36:54 | |
Did you know, for instance, that one of your uncle's favourite paintings, | 0:36:54 | 0:36:56 | |
-a Waldmuller portrait of Count Esterhazy... -Yes, yes, I remember. | 0:36:56 | 0:36:59 | |
It was hanging in the living room. | 0:36:59 | 0:37:00 | |
I never liked it, actually. | 0:37:00 | 0:37:02 | |
..ended up decorating the walls of no less a place than the Berghof, | 0:37:02 | 0:37:06 | |
Hitler's private residence in the Bavarian Alps. | 0:37:06 | 0:37:09 | |
Or that your aunt's necklace, | 0:37:09 | 0:37:11 | |
the same one she wears in the Klimt portrait, | 0:37:11 | 0:37:13 | |
came to adorn the neck of Emmy Goering, | 0:37:13 | 0:37:15 | |
Hermann Goering's wife? | 0:37:15 | 0:37:17 | |
I don't think I want to hear this. | 0:37:17 | 0:37:19 | |
The Nazis themselves were not so keen on the Klimts. | 0:37:19 | 0:37:21 | |
They were, after all, a bit too degenerate for their taste. | 0:37:21 | 0:37:23 | |
But the paintings caught the eye of someone | 0:37:23 | 0:37:25 | |
with a more prescient and refined appreciation of art, | 0:37:25 | 0:37:29 | |
-Bruno Grimshitz. -Grimshitz?! | 0:37:29 | 0:37:31 | |
The paintings were taken off the walls of your family home | 0:37:31 | 0:37:33 | |
and carefully transported to the Belvedere. | 0:37:33 | 0:37:36 | |
Certain facts had to be altered, | 0:37:36 | 0:37:38 | |
like your aunt's name and her Jewish provenance, of course. | 0:37:38 | 0:37:41 | |
For a short while after the war, | 0:37:41 | 0:37:42 | |
she became simply known as | 0:37:42 | 0:37:44 | |
Woman In Gold. | 0:37:44 | 0:37:46 | |
So her identity was stolen, as well. | 0:37:46 | 0:37:49 | |
It wasn't enough to rob your family and try to destroy it. | 0:37:49 | 0:37:52 | |
No. You had to be eradicated from history. | 0:37:52 | 0:37:55 | |
-So the paintings reached the Belvedere. -In 1941. | 0:37:55 | 0:37:58 | |
-Your uncle, Maria, died... -At the end of the war, 1945. | 0:37:58 | 0:38:02 | |
So, contrary to the request in Adele's will, | 0:38:02 | 0:38:04 | |
the paintings ended up in the Belvedere well before his death. | 0:38:04 | 0:38:07 | |
And if I'm not mistaken, he wrote his own will before he died. | 0:38:07 | 0:38:10 | |
Yes, he did. | 0:38:10 | 0:38:11 | |
Leaving everything he owned, or at least what was left of it, | 0:38:11 | 0:38:14 | |
to you and your sister, his only living heirs. | 0:38:14 | 0:38:16 | |
It was one of the last things he did before he died a few days later. | 0:38:16 | 0:38:18 | |
Yes, but won't they argue that Adele did leave them to the gallery? | 0:38:18 | 0:38:22 | |
So, really, we don't have a case. | 0:38:22 | 0:38:24 | |
Randy, why don't you show Maria our trump card? | 0:38:24 | 0:38:26 | |
What's this? | 0:38:27 | 0:38:28 | |
That is a declaration that Ferdinand paid | 0:38:28 | 0:38:31 | |
-for the paintings. -Mm. | 0:38:31 | 0:38:32 | |
He was the rightful owner, not Adele. | 0:38:32 | 0:38:35 | |
The paintings weren't hers to give away. | 0:38:35 | 0:38:38 | |
So the will is invalid? | 0:38:39 | 0:38:40 | |
Technically, it's not a will. | 0:38:40 | 0:38:42 | |
It's not legally binding. | 0:38:42 | 0:38:44 | |
It's more like a wish. | 0:38:44 | 0:38:45 | |
Now we need to get all this to Rudolf Wran, the head of the restitution committee. | 0:38:46 | 0:38:50 | |
Yes. And then your aunt is coming home with us. | 0:38:50 | 0:38:52 | |
Oh! | 0:38:52 | 0:38:53 | |
Randy, wait and listen. | 0:38:53 | 0:38:54 | |
She is the Mona Lisa of Austria. | 0:38:55 | 0:38:59 | |
Do you think they will just let her go? | 0:38:59 | 0:39:01 | |
See, we've left Mr Wran | 0:39:03 | 0:39:04 | |
four messages this morning alone. | 0:39:04 | 0:39:06 | |
Mr Wran is very busy right now. | 0:39:06 | 0:39:08 | |
-You understand? -Yes, of course we understand, | 0:39:08 | 0:39:10 | |
but it is essential that we speak with him. | 0:39:10 | 0:39:12 | |
-The problem is it's imperative that we speak to him this morning. -Randy, is that him? | 0:39:12 | 0:39:15 | |
I think it's best if you leave him a message. | 0:39:15 | 0:39:17 | |
Mr Wran? Mr...Mr Rudolf Wran? | 0:39:17 | 0:39:19 | |
Hi. I'm Randy Schoenberg. | 0:39:19 | 0:39:21 | |
This is my client, Mrs Altmann. | 0:39:21 | 0:39:22 | |
-How do you do? -Of course. I'm so sorry | 0:39:22 | 0:39:24 | |
I haven't had a moment to reply to your calls. | 0:39:24 | 0:39:26 | |
-Well, that's... -Please don't apologise. | 0:39:26 | 0:39:28 | |
You're a very important man, very busy. | 0:39:28 | 0:39:30 | |
There's new information the restitution committee needs to be aware of | 0:39:30 | 0:39:33 | |
before they come to any decision on the Bloch-Bauer case. | 0:39:33 | 0:39:35 | |
Is there indeed? | 0:39:35 | 0:39:37 | |
It's all in here. I've made some observations in the margins. Excuse my handwriting. | 0:39:37 | 0:39:40 | |
You've been busy during your stay in Vienna. | 0:39:40 | 0:39:42 | |
We didn't come here to eat cake. | 0:39:42 | 0:39:45 | |
Mr Schoenberg, I understand you're the composer's grandson. | 0:39:46 | 0:39:51 | |
Now, do you know what a fan I am of his work? | 0:39:51 | 0:39:54 | |
You're a man of refined taste, Mr Wran. | 0:39:54 | 0:39:56 | |
The genius of the 12-tone compositional system | 0:39:56 | 0:39:58 | |
should not be underestimated. | 0:39:58 | 0:40:00 | |
Thank you for your efforts, but we have all the information we need now. | 0:40:00 | 0:40:03 | |
If you'll excuse me, there's work to be done. | 0:40:03 | 0:40:07 | |
It's hard to believe Hitler once applied to be an art student here. | 0:40:15 | 0:40:18 | |
I wish they'd accepted him. | 0:40:18 | 0:40:21 | |
They're all here. | 0:40:25 | 0:40:27 | |
The woman just coming in the door... | 0:40:27 | 0:40:29 | |
Elizabeth Gehrer, Minister of Culture. | 0:40:29 | 0:40:31 | |
With your new friend, Rudolf Wran. | 0:40:31 | 0:40:34 | |
Quite a turnout. | 0:40:34 | 0:40:35 | |
They're putting on a very good show. | 0:40:35 | 0:40:38 | |
Welcome to the Restitution Conference. | 0:40:43 | 0:40:45 | |
TRANSLATES INTO GERMAN | 0:40:45 | 0:40:47 | |
I will never forget the day that they stormed in our house | 0:41:01 | 0:41:05 | |
and...took our paintings off the wall. | 0:41:05 | 0:41:08 | |
Our maid went into my mother's wardrobe... | 0:41:08 | 0:41:14 | |
and took out the clothes, and she said to her, | 0:41:14 | 0:41:17 | |
"Don't think of going to the police, | 0:41:17 | 0:41:20 | |
"because they'll be here anyway." | 0:41:20 | 0:41:22 | |
And so it was. | 0:41:22 | 0:41:24 | |
Some police came, | 0:41:24 | 0:41:26 | |
and other people, and stripped the place. | 0:41:26 | 0:41:30 | |
When people see the famous portrait, they see | 0:41:30 | 0:41:33 | |
a masterpiece by one of Austria's finest artists. | 0:41:33 | 0:41:37 | |
But I see a picture of my aunt, | 0:41:37 | 0:41:40 | |
a woman who talked to me about life | 0:41:40 | 0:41:43 | |
while I brushed her hair in her bedroom. | 0:41:43 | 0:41:45 | |
Restitution. | 0:41:46 | 0:41:48 | |
You see, that's an interesting word. | 0:41:48 | 0:41:50 | |
You know, I looked it up in the dictionary. | 0:41:50 | 0:41:53 | |
"Restitution - the return of something to its original state." | 0:41:53 | 0:41:57 | |
Now, that made me think. | 0:41:57 | 0:42:00 | |
You see, I would love to return to my original state. | 0:42:00 | 0:42:03 | |
I would love to be a happy woman living in this beautiful city. | 0:42:03 | 0:42:07 | |
Like so many of my generation who had to flee, | 0:42:08 | 0:42:11 | |
I will never forgive them for preventing me from living here. | 0:42:11 | 0:42:15 | |
At the very least, we should be reunited with what is rightfully ours. | 0:42:16 | 0:42:22 | |
Thank you. | 0:42:25 | 0:42:27 | |
Mrs Altmann, Dr Bernhard Kohler. | 0:42:29 | 0:42:32 | |
I work at the Belvedere Gallery. | 0:42:32 | 0:42:33 | |
And how can I help you, Dr Kohler? | 0:42:33 | 0:42:35 | |
If the decision of the committee is in your favour, take the three landscapes, | 0:42:35 | 0:42:39 | |
but we implore you, not the portraits. | 0:42:39 | 0:42:41 | |
You have grown attached to them. | 0:42:41 | 0:42:42 | |
We cannot imagine Austria without them. | 0:42:42 | 0:42:45 | |
-I can. -Well... | 0:42:45 | 0:42:47 | |
once the past has been put to right, | 0:42:47 | 0:42:49 | |
I would be open to an arrangement with you. | 0:42:49 | 0:42:52 | |
Maria, may I speak with you for a moment? | 0:42:52 | 0:42:53 | |
Will you excuse me? I think my lawyer's getting a trifle nervous. | 0:42:53 | 0:42:56 | |
Please feel free to call me so we can resume the conversation. | 0:42:56 | 0:42:59 | |
I think we need to be careful about what we say. | 0:43:00 | 0:43:02 | |
Oh, you mean you think I should be careful about what I say. | 0:43:02 | 0:43:05 | |
A moment ago, you called me your lawyer. Most people take advice from their lawyers. | 0:43:05 | 0:43:08 | |
Yes, when they ask for it. | 0:43:08 | 0:43:10 | |
Now, if you don't mind, I would like to walk back to the hotel alone. | 0:43:10 | 0:43:14 | |
DISTANT BELL TOLLING | 0:43:36 | 0:43:38 | |
MAN: | 0:44:08 | 0:44:10 | |
BELL TOLLING | 0:46:03 | 0:46:05 | |
DOOR BELLS JINGLING | 0:46:26 | 0:46:28 | |
GRUNTING | 0:46:53 | 0:46:54 | |
Ja, ja, ja. | 0:46:58 | 0:47:00 | |
Hey! | 0:47:23 | 0:47:24 | |
GRUNTING | 0:48:18 | 0:48:19 | |
CROWD JEERS AND YELLS | 0:48:40 | 0:48:43 | |
CAR HORN HONKS | 0:49:32 | 0:49:33 | |
GUNSHOTS, GASPING | 0:49:39 | 0:49:41 | |
WIND WHISTLING | 0:51:21 | 0:51:23 | |
And this is Minister Gehrer. | 0:52:57 | 0:52:58 | |
How do you do? | 0:52:58 | 0:53:00 | |
Dr Dreimann here is our principal attorney on this very complicated case. | 0:53:00 | 0:53:04 | |
Please sit. | 0:53:04 | 0:53:05 | |
Some cases are more complicated than others, | 0:53:09 | 0:53:14 | |
but after much deliberation, | 0:53:14 | 0:53:17 | |
we regret to inform you, Frau Altmann, | 0:53:17 | 0:53:19 | |
that the committee has decided that the five Klimt paintings | 0:53:19 | 0:53:23 | |
hanging in the Belvedere will remain there. | 0:53:23 | 0:53:26 | |
Please tell me this is a joke. | 0:53:28 | 0:53:30 | |
They're not joking, Randy. | 0:53:31 | 0:53:33 | |
-Your aunt's will should be obeyed. -But that's the point. It isn't even a will. | 0:53:33 | 0:53:37 | |
Uh, the paintings aren't hers to give away. Here. | 0:53:38 | 0:53:41 | |
Uh, where is it? | 0:53:41 | 0:53:43 | |
We have proof that the paintings were Ferdinand's property, | 0:53:43 | 0:53:46 | |
not his wife's, which makes her will invalid. | 0:53:46 | 0:53:48 | |
I think this is the one you're looking for. | 0:53:48 | 0:53:49 | |
And that's ignoring the fact that there was a deliberate cover-up to conceal the manner | 0:53:49 | 0:53:53 | |
in which the paintings ended up in the gallery. | 0:53:53 | 0:53:55 | |
They're not interested in the facts, Randy. | 0:53:55 | 0:53:56 | |
Your aunt's request needs to be respected. | 0:53:56 | 0:53:58 | |
It's not a legally binding will. | 0:53:58 | 0:54:00 | |
Do you imagine my aunt would have written those words | 0:54:00 | 0:54:03 | |
if she knew what was to come? | 0:54:03 | 0:54:04 | |
Do you? | 0:54:04 | 0:54:06 | |
The looting of her home, the murder of her people. | 0:54:06 | 0:54:09 | |
Our decision is non-negotiable. | 0:54:09 | 0:54:11 | |
If you don't agree with it, your only option is to pursue the case in court. | 0:54:11 | 0:54:15 | |
Come on, Randy, let's go. | 0:54:16 | 0:54:17 | |
Dr Dreimann, you speak as if you knew my aunt, | 0:54:19 | 0:54:23 | |
but you did not know her, | 0:54:23 | 0:54:25 | |
and I can tell you right now that what you have decided today | 0:54:25 | 0:54:28 | |
would make her ashamed to call herself an Austrian. | 0:54:28 | 0:54:32 | |
And you should be ashamed, too. | 0:54:34 | 0:54:36 | |
It's not America. In order to pursue the case in Austria, | 0:54:41 | 0:54:44 | |
the government demands a deposit against the cost of 1.8 million, and that's for starters. | 0:54:44 | 0:54:49 | |
1.8 million?! | 0:54:49 | 0:54:51 | |
Based on a portion of the estimated value of the paintings. | 0:54:51 | 0:54:53 | |
OK, so on one hand, they're saying, "Take us to court." | 0:54:53 | 0:54:56 | |
On the other hand, it's financially impossible for us to do that. | 0:54:56 | 0:54:59 | |
Your hands are tied behind your back, yes. | 0:54:59 | 0:55:01 | |
What about arbitration here in Vienna? | 0:55:01 | 0:55:03 | |
Nobody will decide to give you back the paintings, Randy, nobody. | 0:55:03 | 0:55:06 | |
It's a total waste of time and money. | 0:55:06 | 0:55:09 | |
No more daydreaming. | 0:55:09 | 0:55:12 | |
Thank you, Hubertus, for all your effort. | 0:55:12 | 0:55:14 | |
Come on, Randy. | 0:55:14 | 0:55:17 | |
It's time to go pack. | 0:55:17 | 0:55:18 | |
-Hubertus. -I'm sorry. | 0:55:18 | 0:55:20 | |
KNOCKING ON DOOR | 0:55:34 | 0:55:36 | |
-Just checking on you. -Come in. Sit down. | 0:55:38 | 0:55:41 | |
How're you doing? | 0:55:42 | 0:55:44 | |
I'm exhausted. | 0:55:44 | 0:55:46 | |
That's what happens when you have to deal all day | 0:55:46 | 0:55:49 | |
with a lot of grim shits. | 0:55:49 | 0:55:50 | |
SHE CHUCKLES | 0:55:50 | 0:55:53 | |
They'll never admit to what they did, | 0:55:53 | 0:55:55 | |
because if they admit to one thing, they have to admit to it all. | 0:55:55 | 0:55:58 | |
Admit to what? | 0:55:58 | 0:55:59 | |
They were never victims. | 0:55:59 | 0:56:01 | |
Most of them threw flowers and welcomed the Nazis with open arms, | 0:56:01 | 0:56:05 | |
and that's the simple truth. | 0:56:05 | 0:56:07 | |
It's with great pleasure that I announce | 0:56:11 | 0:56:14 | |
that Klimt's Adele will be remaining in Austria. | 0:56:14 | 0:56:18 | |
This is a victory for the Belvedere Gallery | 0:56:18 | 0:56:20 | |
and a victory for the Austrian people. | 0:56:20 | 0:56:21 | |
-Oh, enough. Switch it off. -Thank you. | 0:56:21 | 0:56:24 | |
Tomorrow we will go home, | 0:56:26 | 0:56:28 | |
and, on the way to the airport, | 0:56:28 | 0:56:30 | |
we will stop to pay our respects | 0:56:30 | 0:56:32 | |
at the Holocaust Memorial. | 0:56:32 | 0:56:34 | |
That way, we will not have come here in vain. | 0:56:34 | 0:56:37 | |
SHE SIGHS | 0:56:38 | 0:56:39 | |
BELL TOLLING IN DISTANCE | 0:56:44 | 0:56:47 | |
BICYCLE BELL DINGS | 0:56:47 | 0:56:49 | |
The camp where my great-grandparents were murdered. | 0:56:50 | 0:56:53 | |
Treblinka. | 0:56:53 | 0:56:55 | |
They died soon after your grandfather escaped to America. | 0:56:56 | 0:57:00 | |
I remember them well. | 0:57:00 | 0:57:01 | |
They had a cherry blossom tree in the garden, | 0:57:01 | 0:57:03 | |
and she had the most beautiful eyes. | 0:57:03 | 0:57:05 | |
Your mother reminds me of her. | 0:57:06 | 0:57:09 | |
Then they were taken away in the middle of the night. | 0:57:11 | 0:57:15 | |
Randy... | 0:57:19 | 0:57:20 | |
we must go to the airport now. | 0:57:20 | 0:57:23 | |
OK. | 0:57:23 | 0:57:24 | |
Know what? Um... | 0:57:26 | 0:57:28 | |
I'm going to use the men's room. | 0:57:28 | 0:57:30 | |
-I'll be right back. -Yes. | 0:57:30 | 0:57:33 | |
HE INHALES | 0:57:38 | 0:57:40 | |
HE EXHALES AND SNIFFLES | 0:57:41 | 0:57:43 | |
LOUD THUMPING | 0:57:51 | 0:57:53 | |
My grandfather used to say the three things that | 0:58:06 | 0:58:08 | |
he hated most in life were Hitler, his grandmother, | 0:58:08 | 0:58:10 | |
and the Los Angeles sun, but I got to say, | 0:58:10 | 0:58:13 | |
everything about Los Angeles feels pretty damn great right now. | 0:58:13 | 0:58:17 | |
You know if my darling Fritz was still alive, | 0:58:17 | 0:58:19 | |
he would welcome us home with an aria. | 0:58:19 | 0:58:21 | |
Welcome home. | 0:58:21 | 0:58:22 | |
-To Randy and Maria. -ALL: Randy and Maria. | 0:58:22 | 0:58:25 | |
We did our best and that's what matters. | 0:58:29 | 0:58:32 | |
We did everything we could. | 0:58:32 | 0:58:35 | |
The past is the past, | 0:58:37 | 0:58:39 | |
and now we must let it go. | 0:58:39 | 0:58:41 | |
WOMAN: Maria? | 0:58:43 | 0:58:44 | |
-WHISPERING: -Randy. | 0:58:49 | 0:58:51 | |
Hey. | 0:58:52 | 0:58:54 | |
I went for the money. | 0:58:54 | 0:58:56 | |
Those paintings are worth over 100 million. | 0:58:57 | 0:59:01 | |
That's why I went out there with her. | 0:59:01 | 0:59:03 | |
I went for the money, Pam. | 0:59:05 | 0:59:06 | |
It's natural. | 0:59:08 | 0:59:11 | |
But you're home now, and it's OK. | 0:59:11 | 0:59:15 | |
Is it? | 0:59:15 | 0:59:17 | |
BEEPING | 0:59:37 | 0:59:39 | |
WHIRRING | 0:59:39 | 0:59:41 | |
Randy? | 0:59:48 | 0:59:49 | |
That's 29, sir. | 1:00:17 | 1:00:19 | |
-Thank you, Mrs Scheff. -Goodbye. | 1:00:21 | 1:00:24 | |
-Oh. Excuse me. -Thank you. | 1:00:26 | 1:00:29 | |
Fancy seeing you again, after all this time. | 1:00:29 | 1:00:31 | |
Belvedere catalogue, on sale in Barnes & Noble on Wilshire. | 1:00:31 | 1:00:34 | |
And hello to you, too. What are you babbling about? | 1:00:34 | 1:00:36 | |
You don't understand. We got 'em. | 1:00:36 | 1:00:39 | |
You can sue them here, in the US. | 1:00:39 | 1:00:41 | |
Oh. Not all that again. | 1:00:41 | 1:00:44 | |
Oh, anyway, Randy, I thought you said | 1:00:44 | 1:00:46 | |
we couldn't sue them here because of that | 1:00:46 | 1:00:48 | |
foreign state immunity thing. | 1:00:48 | 1:00:50 | |
I did, but I found a loophole. Three conditions. | 1:00:50 | 1:00:52 | |
-Which are? -When the property's taken in violation of international law. | 1:00:52 | 1:00:56 | |
-Which it was. -Thank you. | 1:00:56 | 1:00:57 | |
And that property is owned by an agency of a foreign state. | 1:00:57 | 1:01:00 | |
You mean the Belvedere Gallery? | 1:01:00 | 1:01:02 | |
Thank you. And that agency engages in a commercial activity within the USA. | 1:01:02 | 1:01:06 | |
Selling books in Barnes & Noble? | 1:01:06 | 1:01:09 | |
Thank you. If you meet these criteria, you can sue them here in the US. | 1:01:09 | 1:01:13 | |
Congratulations. You meet 'em. You can sue. | 1:01:13 | 1:01:16 | |
Yes, but I don't want to. | 1:01:16 | 1:01:18 | |
Oh, don't you remember what I told you, Randy? | 1:01:20 | 1:01:23 | |
Sometimes it's... | 1:01:23 | 1:01:24 | |
-SHE SIGHS -You just have to move on. | 1:01:24 | 1:01:27 | |
'It's a long shot.' | 1:01:31 | 1:01:32 | |
For starters, there's no precedent. | 1:01:32 | 1:01:34 | |
There is. There's one case that I found, sir. | 1:01:34 | 1:01:36 | |
A Jewish family from Argentina, they lost a hotel. | 1:01:36 | 1:01:39 | |
The answer is no. | 1:01:39 | 1:01:41 | |
I have a real feeling about this, sir. | 1:01:41 | 1:01:43 | |
Since when have we been paying you to have feelings? | 1:01:43 | 1:01:46 | |
'It's commonly known as an ultimatum, Randy.' | 1:02:10 | 1:02:14 | |
I humoured you. | 1:02:14 | 1:02:15 | |
"Let him go to Europe," I thought, "let him flex his muscles." | 1:02:15 | 1:02:19 | |
God knows, I suppose there was a small part of me that hoped | 1:02:19 | 1:02:21 | |
-you were onto something. -I think I am. | 1:02:21 | 1:02:22 | |
You're not. There isn't a case. | 1:02:22 | 1:02:25 | |
There's no enforcement mechanism between the US and Austria. | 1:02:25 | 1:02:28 | |
-Just one more go, sir. -I need you here now. | 1:02:28 | 1:02:31 | |
No more extracurricular stuff, | 1:02:31 | 1:02:34 | |
and no more Klimts. | 1:02:34 | 1:02:36 | |
'Hi there.' | 1:02:42 | 1:02:44 | |
Hi. I'm here to file a lawsuit against the Austrian government. | 1:02:44 | 1:02:48 | |
I've filled in the summons and that's the complaint. | 1:02:48 | 1:02:50 | |
-What do I owe you? -Well, that'll cost you 165. | 1:02:50 | 1:02:53 | |
I want to go to Austria one day, with my daughter. | 1:02:53 | 1:02:56 | |
-HE CHUCKLES -She loves kangaroos. | 1:02:56 | 1:02:58 | |
Maria? | 1:03:01 | 1:03:02 | |
Hey, can you come with me for a second? | 1:03:02 | 1:03:04 | |
I'd like you to witness something. | 1:03:04 | 1:03:06 | |
Come on, come on, double time. | 1:03:06 | 1:03:07 | |
-Hi. -Hi. -Is Consul Brandstetter around? | 1:03:07 | 1:03:10 | |
-I'm afraid not, sir. -Oh, well, tell him | 1:03:10 | 1:03:12 | |
that Mrs Altmann and Randy Schoenberg dropped by. | 1:03:12 | 1:03:15 | |
-I think he may have heard of us. -OK. -What do we want with the Austrian Consul? | 1:03:15 | 1:03:18 | |
Please inform him that I'm dropping off a summons and complaint. Here it is. | 1:03:18 | 1:03:21 | |
We're taking the Austrian government to court. | 1:03:21 | 1:03:23 | |
-Have a nice day. -Mm. -OK. | 1:03:23 | 1:03:26 | |
Randy? | 1:03:26 | 1:03:27 | |
Will you slow down a little, please, and tell me what's going on? | 1:03:27 | 1:03:30 | |
We're taking them to court. | 1:03:30 | 1:03:32 | |
No, you can't do this. You can't just go charging ahead | 1:03:32 | 1:03:34 | |
like a mad steam roller. | 1:03:34 | 1:03:35 | |
-Can't I? -Randy, stop walking so fast. | 1:03:35 | 1:03:38 | |
I can't keep up with you. Stop! | 1:03:38 | 1:03:40 | |
SHE PANTS | 1:03:40 | 1:03:42 | |
Now... | 1:03:42 | 1:03:43 | |
SHE PANTS | 1:03:43 | 1:03:44 | |
I told you before I have no interest in suing them. | 1:03:44 | 1:03:48 | |
I have had enough excitement. | 1:03:48 | 1:03:50 | |
I have returned to my quiet life | 1:03:50 | 1:03:52 | |
and finally begun to find some peace again. | 1:03:52 | 1:03:55 | |
Say that again with conviction. | 1:03:55 | 1:03:56 | |
Don't be impertinent. | 1:03:56 | 1:03:58 | |
Oh, you do annoy me. | 1:03:58 | 1:03:59 | |
Anyway, you don't have the time for this. | 1:03:59 | 1:04:02 | |
You have a family to support, and you have a full-time job. | 1:04:02 | 1:04:05 | |
Oh, no. | 1:04:08 | 1:04:10 | |
-What do you mean you quit? -I quit my job. | 1:04:10 | 1:04:13 | |
Hey, I talked to my father, he can give us a loan, you know. | 1:04:14 | 1:04:17 | |
-Oh, great(!) -To keep us afloat for a few months. | 1:04:17 | 1:04:20 | |
Just when we're expecting another baby. | 1:04:20 | 1:04:21 | |
Don't you think we're under pressure enough? | 1:04:21 | 1:04:23 | |
We're supposed to make these decisions together. | 1:04:23 | 1:04:26 | |
-Isn't that the point? -Yeah. | 1:04:26 | 1:04:28 | |
I'm sorry. | 1:04:29 | 1:04:31 | |
You're right. | 1:04:31 | 1:04:32 | |
It's Austria. | 1:04:33 | 1:04:35 | |
Something happened out there, and I don't know... | 1:04:35 | 1:04:38 | |
I don't know why, but I can't let it go. | 1:04:38 | 1:04:40 | |
I think it's important. | 1:04:41 | 1:04:43 | |
I'm so sorry. | 1:04:46 | 1:04:47 | |
Let's hope we're not wasting our time today. | 1:04:50 | 1:04:53 | |
You realise this is only the first stage, right? | 1:04:53 | 1:04:56 | |
They've hired Stan Gould of Heimann Rose, | 1:04:56 | 1:04:58 | |
which is a hotshot Jewish law firm. | 1:04:58 | 1:05:00 | |
Mm. Nice of them to give jobs to Jewish boys(!) | 1:05:00 | 1:05:03 | |
They're trying to dismiss the case on procedural grounds, | 1:05:03 | 1:05:05 | |
which is just a fancy way of saying "We're trying to drag it out." | 1:05:05 | 1:05:08 | |
In the hopes that I'll die before the case comes to court. | 1:05:08 | 1:05:11 | |
Precisely. | 1:05:11 | 1:05:13 | |
Well, I will do them the favour of staying alive. | 1:05:13 | 1:05:15 | |
Oh, Randy, can't you drive a little faster? | 1:05:15 | 1:05:17 | |
The chocolate on your doughnut is melting. | 1:05:17 | 1:05:19 | |
Right here. | 1:05:20 | 1:05:22 | |
-Mr Gould. Hi. -Mr Schoenberg. -An absolute pleasure, sir. | 1:05:23 | 1:05:26 | |
-Mrs Altmann. -Dr Dreimann, nice of you to come from Austria. | 1:05:26 | 1:05:29 | |
-That's very flattering. -I've always wanted to visit Disneyland. | 1:05:29 | 1:05:32 | |
Two birds with one stone, as they say. | 1:05:32 | 1:05:34 | |
I hope we make your visit worthwhile. | 1:05:34 | 1:05:36 | |
Mrs Altmann, you're looking even younger than you did in Vienna. | 1:05:36 | 1:05:39 | |
You know, this morning, I feel as if I have | 1:05:39 | 1:05:41 | |
another 50 years in front of me. | 1:05:41 | 1:05:43 | |
BAILIFF: All rise. | 1:05:43 | 1:05:45 | |
-Stop it. Stop it. -You have chocolate... | 1:05:50 | 1:05:54 | |
-Let us begin. Mr Gould? -Your honour, | 1:05:54 | 1:05:57 | |
the Foreign Sovereign Immunities Act was passed in 1976, | 1:05:57 | 1:06:01 | |
a good 38 years after the events in question. | 1:06:01 | 1:06:04 | |
It seems to me obvious that the FSIA rulings | 1:06:04 | 1:06:06 | |
cannot be retroactively applied, and I'm bewildered | 1:06:06 | 1:06:09 | |
that Mrs Altmann's counsel has not advised her of this fact. | 1:06:09 | 1:06:13 | |
It would have saved her a great deal of inconvenience | 1:06:13 | 1:06:15 | |
and an equal amount of false hope. | 1:06:15 | 1:06:18 | |
No, not really it is not an inconvenience for me. | 1:06:18 | 1:06:20 | |
Mondays is a quiet day in my shop anyway, so... | 1:06:20 | 1:06:22 | |
I'm glad to hear it, Mrs Altmann, but from now on would you mind only speaking when you're asked? | 1:06:22 | 1:06:26 | |
There are certain procedures which must be adhered to in a courtroom. | 1:06:26 | 1:06:29 | |
Your Honour, Mr Gould is right, um, to point out | 1:06:33 | 1:06:35 | |
that the FSIA was enacted in 1976, | 1:06:35 | 1:06:37 | |
but he's mistaken in his theory that it cannot be applied retroactively. | 1:06:37 | 1:06:40 | |
Um, if I may? | 1:06:40 | 1:06:42 | |
Despite the fact that actions | 1:06:44 | 1:06:45 | |
accruing before 1976 are rarer, they very much exist. | 1:06:45 | 1:06:48 | |
These are just three examples of them. | 1:06:48 | 1:06:50 | |
Thank you very much, Mr Schoenberg, I'm sure this will prove to be a riveting read. | 1:06:50 | 1:06:54 | |
Let's adjourn for ten minutes. | 1:06:54 | 1:06:55 | |
This is a domestic matter for Austria. | 1:06:55 | 1:06:58 | |
Anything else would be a violation of its national sovereignty. | 1:06:58 | 1:07:01 | |
After all, there is a forum for Mrs Altmann | 1:07:01 | 1:07:03 | |
to pursue her case in Austria without resorting to American courts | 1:07:03 | 1:07:06 | |
and American taxpayers' money. | 1:07:06 | 1:07:08 | |
I applaud Mr Gould's concern for the American taxpayer, | 1:07:08 | 1:07:10 | |
but taking the defendant to court in Austria | 1:07:10 | 1:07:12 | |
would require that Mrs Altmann be a multimillionairess. | 1:07:12 | 1:07:15 | |
It's not an option. | 1:07:15 | 1:07:17 | |
As a matter of fact, we've exhausted all other options. | 1:07:17 | 1:07:20 | |
If we hadn't, we wouldn't be standing before you today. | 1:07:20 | 1:07:23 | |
The plaintiff has adequately proven | 1:07:23 | 1:07:25 | |
that the FSIA can apply to pre-1976 events. | 1:07:25 | 1:07:30 | |
Also, due to prohibitive costs, | 1:07:30 | 1:07:32 | |
this court has decided that Austria provides | 1:07:32 | 1:07:33 | |
an inadequate forum for resolution of plaintiff's claim. | 1:07:33 | 1:07:36 | |
-Your Honour... -Defendant's motion to dismiss is denied. | 1:07:36 | 1:07:39 | |
BAILIFF: All rise. | 1:07:40 | 1:07:41 | |
First hurdle down. | 1:07:45 | 1:07:47 | |
You know, I've always thought there should be more women judges. | 1:07:47 | 1:07:50 | |
This is a setback, absolutely. | 1:07:52 | 1:07:54 | |
Dr Dreimann. | 1:07:56 | 1:07:57 | |
Congratulations, Mr Schoenberg. | 1:07:57 | 1:07:59 | |
-An unexpected outcome, which no doubt has delighted you. -You're a very busy man. | 1:07:59 | 1:08:02 | |
I would urge you to consider mediation. | 1:08:02 | 1:08:05 | |
There will be no mediation, Mr Schoenberg. | 1:08:05 | 1:08:07 | |
You've been exceptionally lucky today, but make no mistake, we'll take this | 1:08:07 | 1:08:10 | |
to the Supreme Court if we have to. | 1:08:10 | 1:08:11 | |
Good day to you. | 1:08:11 | 1:08:13 | |
Enjoy Disneyland. | 1:08:16 | 1:08:18 | |
MAN: Mrs Altmann, I'm Ronald Lauder. | 1:08:32 | 1:08:35 | |
The son of Estee. | 1:08:35 | 1:08:36 | |
Her lipsticks are marvellous. | 1:08:36 | 1:08:38 | |
Stay Mocha, my favourite. | 1:08:38 | 1:08:40 | |
Please, sit. | 1:08:40 | 1:08:42 | |
I have so much respect for your campaign. | 1:08:42 | 1:08:44 | |
The artworks stolen by the Nazis are the last prisoners of World War II, | 1:08:44 | 1:08:49 | |
and Adele is their queen. | 1:08:49 | 1:08:51 | |
My aunt would be very flattered. | 1:08:51 | 1:08:54 | |
I was a young man when I first saw the portrait, | 1:08:54 | 1:08:56 | |
and I instantly fell in love. | 1:08:56 | 1:08:58 | |
-Oh. -Which is why I want it for my gallery in New York. | 1:08:58 | 1:09:01 | |
We're jumping the gun a little here, Mr Lauder. | 1:09:01 | 1:09:04 | |
Well, one needs to do what one can | 1:09:04 | 1:09:06 | |
to make a favourable outcome as likely as possible. | 1:09:06 | 1:09:08 | |
Which brings me to young Mr Schoenberg. | 1:09:08 | 1:09:11 | |
-Now, he's been a formidable ally... -And continues to be one. | 1:09:11 | 1:09:14 | |
He's very smart, but I'm afraid | 1:09:14 | 1:09:16 | |
he's not cut out for the Supreme Court, Mrs Altmann. | 1:09:16 | 1:09:18 | |
Getting you through the complex appeal process | 1:09:18 | 1:09:20 | |
is one thing, but Washington? | 1:09:20 | 1:09:22 | |
It'd be a little like sending a schoolboy onto the front line. | 1:09:22 | 1:09:25 | |
You think so? | 1:09:25 | 1:09:27 | |
I'm willing to pay for you to have the finest representation from this point on. | 1:09:27 | 1:09:30 | |
The man I have in mind is to art restitution | 1:09:30 | 1:09:32 | |
what Einstein is to relativity. | 1:09:32 | 1:09:35 | |
He's done his homework on your case. | 1:09:35 | 1:09:37 | |
Let's say he knows his stuff. Can I ask him to call you? | 1:09:37 | 1:09:40 | |
You can ask him to take a hike. | 1:09:40 | 1:09:42 | |
I'm sticking with my schoolboy, Mr Lauder. | 1:09:44 | 1:09:46 | |
That's final. | 1:09:46 | 1:09:48 | |
HE CLEARS THROAT The repeated attempts | 1:09:49 | 1:09:51 | |
to have this case dismissed by the by the defence has been nothing... | 1:09:51 | 1:09:54 | |
Honey, we need to take Dora to your mother's and then go to the hospital. | 1:09:54 | 1:09:57 | |
-Should I go deeper with the voice? -Sweetie, my water broke. | 1:09:57 | 1:09:59 | |
-What? -My water just broke. | 1:09:59 | 1:10:02 | |
-OK, just stay calm, just stay calm. Are you OK? -Honey, I'm fine. | 1:10:03 | 1:10:06 | |
-You're having a baby now. -I'm aware of that. You should wear this tie and shirt to the Supreme Court. | 1:10:06 | 1:10:11 | |
This is the one your dad got you. | 1:10:11 | 1:10:12 | |
You need to take me to the hospital, then you need to go to Washington. | 1:10:12 | 1:10:16 | |
-You need to do this for all of us. -Hold on, hold on. | 1:10:16 | 1:10:18 | |
-Are you sure about that? -Listen, | 1:10:18 | 1:10:20 | |
whatever I said, I want you to know I am with you now, | 1:10:20 | 1:10:23 | |
and even if it doesn't work out we will manage. | 1:10:23 | 1:10:26 | |
Either way, we're going to be OK. | 1:10:26 | 1:10:28 | |
Yeah. | 1:10:28 | 1:10:29 | |
You're doing the right thing. | 1:10:29 | 1:10:31 | |
Have a cough drop. | 1:10:51 | 1:10:53 | |
They're cherry-flavoured. | 1:10:53 | 1:10:54 | |
I'll leave it here for later. | 1:10:54 | 1:10:57 | |
My dear... | 1:10:59 | 1:11:01 | |
even if we go no further, | 1:11:01 | 1:11:03 | |
we made it all the way to the Supreme Court. | 1:11:03 | 1:11:06 | |
And that's quite a long way for an Austrian girl like me. | 1:11:08 | 1:11:11 | |
Can you please show me the way to the washroom, sir? | 1:11:23 | 1:11:26 | |
Good, now say it again, | 1:11:26 | 1:11:29 | |
but with an American accent. | 1:11:29 | 1:11:30 | |
If you say it like this, then nobody will understand you. | 1:11:30 | 1:11:32 | |
You can talk. You sound like a silly Frankfurter. | 1:11:32 | 1:11:36 | |
I am a man, not a sausage. | 1:11:36 | 1:11:38 | |
Maria Altmann! | 1:11:38 | 1:11:40 | |
Which one of you is Maria Altmann? | 1:11:40 | 1:11:43 | |
-I am. -Ah. | 1:11:43 | 1:11:44 | |
Telegram for you. | 1:11:44 | 1:11:46 | |
-MAN: -We'll hear arguments next in 0313. | 1:12:26 | 1:12:31 | |
The Republic of Austria versus Maria Altmann. | 1:12:31 | 1:12:35 | |
Mr Gould. | 1:12:35 | 1:12:37 | |
Mr Chief Justice, and may it please the court, | 1:12:37 | 1:12:39 | |
I'll keep my arguments succinct, sir. | 1:12:39 | 1:12:41 | |
This is a domestic matter for Austria. | 1:12:41 | 1:12:44 | |
It has no place in the American courts. | 1:12:44 | 1:12:46 | |
Thank you, Mr Gould. | 1:12:46 | 1:12:47 | |
Mr Franks, representing the United States government. | 1:12:47 | 1:12:51 | |
Your opening statement, please. | 1:12:52 | 1:12:54 | |
Ahem... | 1:12:54 | 1:12:56 | |
Mr Chief Justice, | 1:12:56 | 1:12:58 | |
if this law were to be applied retroactively, | 1:12:58 | 1:13:01 | |
it could open claims brought against a number of foreign states, | 1:13:01 | 1:13:05 | |
which would further complicate our international relations. | 1:13:05 | 1:13:08 | |
Give me an example. | 1:13:08 | 1:13:10 | |
Currently, there are cases pending against countries such as Japan and France. | 1:13:10 | 1:13:14 | |
So what you're saying is Mrs Altmann | 1:13:14 | 1:13:15 | |
shouldn't try to reclaim her paintings | 1:13:15 | 1:13:17 | |
because it would affect our relations with Japan? | 1:13:17 | 1:13:20 | |
That could be a possible outcome, Your Honour. | 1:13:20 | 1:13:22 | |
Mrs Altmann, | 1:13:22 | 1:13:24 | |
it would seem that if your case goes forward, | 1:13:24 | 1:13:27 | |
world diplomacy will collapse, | 1:13:27 | 1:13:30 | |
and you will be solely responsible(!) | 1:13:30 | 1:13:33 | |
SUBDUED LAUGHTER | 1:13:33 | 1:13:35 | |
Mr Schoenberg. | 1:13:36 | 1:13:38 | |
Mr Chief Justice, | 1:13:42 | 1:13:45 | |
and may it please the court. | 1:13:45 | 1:13:47 | |
We believe applying the FSIA is not impermissibly retroactive. | 1:13:48 | 1:13:52 | |
Why isn't it just as easy to say that it DOES act retroactively? | 1:13:52 | 1:13:57 | |
Hm? Because the question is, when should it exercise jurisdiction | 1:13:57 | 1:14:02 | |
for a particular purpose? | 1:14:02 | 1:14:04 | |
I'm sorry, uh, I'm not sure I understand the question. | 1:14:15 | 1:14:18 | |
I'm not sure I did, either. | 1:14:21 | 1:14:22 | |
SUBDUED LAUGHTER | 1:14:22 | 1:14:24 | |
Does anyone? | 1:14:24 | 1:14:26 | |
LOUDER LAUGHTER | 1:14:27 | 1:14:28 | |
We're very sensitive to the government's concerns, Mr Chief Justice, | 1:14:28 | 1:14:32 | |
uh, in the can-of-worms argument. | 1:14:32 | 1:14:34 | |
But each country is different and poses different conditions. Unlike, say, Cuba, | 1:14:34 | 1:14:37 | |
in Austria's case, there's a treaty, so there's no dispute as to what type of law could apply. | 1:14:37 | 1:14:43 | |
We recommend opening the can | 1:14:43 | 1:14:45 | |
and extracting just the one little worm | 1:14:45 | 1:14:48 | |
with a pair of tweezers, and then quickly closing it shut again. | 1:14:48 | 1:14:51 | |
LAUGHTER | 1:14:51 | 1:14:52 | |
The defendants in this case have continuously tried to frustrate our attempts, | 1:14:52 | 1:14:56 | |
raising every possible objection, threatening an Armageddon in international relations, | 1:14:56 | 1:15:00 | |
but let's put things into perspective here. | 1:15:00 | 1:15:02 | |
This is a case of one woman wanting back what is rightfully hers. | 1:15:03 | 1:15:07 | |
Mrs Altmann came to America | 1:15:09 | 1:15:10 | |
as a young woman in search of peace. | 1:15:10 | 1:15:13 | |
Let's give her justice, too. | 1:15:13 | 1:15:15 | |
Thank you, Mr Schoenberg. | 1:15:23 | 1:15:25 | |
Mrs Altmann, were you surprised that the US Government | 1:15:26 | 1:15:29 | |
supported the Austrians in trying to get the case dismissed? | 1:15:29 | 1:15:31 | |
Certain people would like me to hurry up and die. | 1:15:31 | 1:15:34 | |
-Why not the Americans, too? -LAUGHTER | 1:15:34 | 1:15:37 | |
ALL FIRE QUESTIONS | 1:15:37 | 1:15:38 | |
David Pike, court reporter. | 1:15:40 | 1:15:42 | |
You were impressive in there, no doubt. | 1:15:42 | 1:15:43 | |
Oh, thank you. Randy Schoenberg. | 1:15:43 | 1:15:46 | |
Takes about three months for the verdict to come through, but no way you're going to win. | 1:15:46 | 1:15:49 | |
-OK. -I've been doing this job for 34 years. | 1:15:49 | 1:15:52 | |
I'm always right, it's in their body language. | 1:15:52 | 1:15:54 | |
-Thank you, that's a cheerful way to end the day(!) -No problem. -OK. | 1:15:54 | 1:15:57 | |
-All right, take care. -Good luck. -OK. | 1:15:57 | 1:16:00 | |
Hi, Nathan. | 1:16:08 | 1:16:10 | |
NATHAN COOS | 1:16:12 | 1:16:13 | |
He waved at you. | 1:16:13 | 1:16:15 | |
PAM CHUCKLES | 1:16:15 | 1:16:16 | |
Ohhhh... | 1:16:16 | 1:16:17 | |
Hi, buddy. | 1:16:21 | 1:16:24 | |
RANDY CHUCKLES | 1:16:25 | 1:16:27 | |
Honey, can you stop looking at your watch every two minutes? | 1:16:31 | 1:16:33 | |
PHONE RINGS | 1:16:33 | 1:16:35 | |
Hello? | 1:16:38 | 1:16:40 | |
OK. | 1:16:43 | 1:16:44 | |
Yeah. | 1:16:46 | 1:16:47 | |
You can't give up just yet. The fight goes on. | 1:16:47 | 1:16:49 | |
SHE GASPS | 1:16:49 | 1:16:50 | |
The Supreme Court ruled in our favour. We can take the Austrians to court. | 1:16:50 | 1:16:53 | |
SHE GASPS | 1:16:53 | 1:16:55 | |
Thank you. | 1:16:55 | 1:16:57 | |
From the first moment I saw you, I knew you were the right man for the job. | 1:16:57 | 1:17:00 | |
That's why I ignored all the terrible bits. | 1:17:00 | 1:17:03 | |
I thought this was the outcome you wanted. | 1:17:06 | 1:17:08 | |
Sure, we could take them to court. | 1:17:10 | 1:17:12 | |
They'll find other ways to stretch it out, you know. | 1:17:12 | 1:17:15 | |
This could take a few more years. | 1:17:15 | 1:17:17 | |
She may not live long enough to see the outcome, and we can't afford it. | 1:17:17 | 1:17:21 | |
Honey, we've come so far. We can't stop now. | 1:17:21 | 1:17:24 | |
There is one more thing we could try. | 1:17:24 | 1:17:26 | |
As a gesture of reconciliation, | 1:17:28 | 1:17:30 | |
I am willing to allow the paintings to remain in the Belvedere. | 1:17:30 | 1:17:34 | |
All you have to do is to admit that you took them illegally. | 1:17:36 | 1:17:39 | |
Yes, and then, of course, come to some agreement | 1:17:39 | 1:17:41 | |
on the question of compensation. | 1:17:41 | 1:17:44 | |
I'm afraid we are not budging, and that is final. | 1:17:44 | 1:17:47 | |
Can you help me understand the inflexible position that you're taking? | 1:17:47 | 1:17:50 | |
We will not be paying for something we believe is ours, | 1:17:50 | 1:17:53 | |
and we will fight you till the end before we concede on this. | 1:17:53 | 1:17:57 | |
Arbitration in Vienna. | 1:18:04 | 1:18:06 | |
-Randy? -We choose one of the arbitrators, you choose the other, the third is neutral. | 1:18:07 | 1:18:12 | |
Now you're talking sense. | 1:18:12 | 1:18:14 | |
This sounds like a reasonable idea. | 1:18:14 | 1:18:16 | |
-Randy, may I speak with you in private, please? -Excuse us. | 1:18:16 | 1:18:19 | |
First you make me agree to a mediation, and now this. | 1:18:21 | 1:18:25 | |
Are you crazy enough to think that some arbitration in Vienna | 1:18:25 | 1:18:27 | |
is going to vote in our favour? | 1:18:27 | 1:18:30 | |
I honestly don't think that we have a choice. | 1:18:30 | 1:18:31 | |
That means we have to go back to Austria. | 1:18:31 | 1:18:34 | |
Maria? | 1:18:34 | 1:18:36 | |
Listen to me. | 1:18:36 | 1:18:38 | |
I can't sit here and argue with you, OK? I'm doing what I think is best. | 1:18:38 | 1:18:41 | |
Now, you just need to be quiet for once, and trust me. | 1:18:41 | 1:18:44 | |
No, Randy, I will NOT be quiet! | 1:18:44 | 1:18:46 | |
No. | 1:18:48 | 1:18:50 | |
Enough is enough. | 1:18:50 | 1:18:51 | |
Congratulations, Dr Dreimann. | 1:18:54 | 1:18:56 | |
Your tactics have succeeded. | 1:18:56 | 1:18:58 | |
I'm not playing this game any more. | 1:18:58 | 1:19:01 | |
Goodbye, gentlemen. | 1:19:02 | 1:19:04 | |
Goodbye, Mrs Altmann. | 1:19:04 | 1:19:06 | |
Maria... | 1:19:06 | 1:19:08 | |
Nice one, Maria, real nice. | 1:19:17 | 1:19:20 | |
I don't want to talk to you. | 1:19:20 | 1:19:21 | |
Well, the feeling is mutual, but we don't have a choice. | 1:19:21 | 1:19:24 | |
-It's over. -No. | 1:19:25 | 1:19:26 | |
We made a mistake. | 1:19:26 | 1:19:28 | |
What's over? What are you saying? | 1:19:28 | 1:19:30 | |
I'm saying we should accept defeat. | 1:19:30 | 1:19:33 | |
And go back to what's left of our lives. | 1:19:33 | 1:19:35 | |
Are you insane? | 1:19:35 | 1:19:36 | |
I'm saying I'm tired and they can keep the paintings! | 1:19:36 | 1:19:39 | |
What I'm saying, Randy, is that, as of this moment, | 1:19:39 | 1:19:42 | |
I no longer require your services. | 1:19:42 | 1:19:43 | |
Are you kidding me? | 1:19:45 | 1:19:47 | |
I've given everything that I have. I am in so much debt. | 1:19:48 | 1:19:51 | |
My wife and I, my children, everything I care about in this world, | 1:19:51 | 1:19:54 | |
and you have the nerve to... Everything that I've done, I've done | 1:19:54 | 1:19:57 | |
to get those goddamn paintings back for you. | 1:19:57 | 1:19:59 | |
I wish you'd never asked me. | 1:19:59 | 1:20:01 | |
And you have the nerve to come here and say to me that it's over? | 1:20:01 | 1:20:05 | |
Huh?! | 1:20:05 | 1:20:06 | |
We're so close, you... | 1:20:08 | 1:20:10 | |
Just hang in there. | 1:20:19 | 1:20:21 | |
The Austrians will never let go. | 1:20:25 | 1:20:27 | |
Never. | 1:20:30 | 1:20:31 | |
But I won't let them humiliate me again. | 1:20:36 | 1:20:39 | |
Go back to Vienna if you have to, but this time, I'm not coming with you. | 1:20:41 | 1:20:45 | |
You are on your own, Randy. | 1:20:46 | 1:20:49 | |
-HUBERTUS: -Arbitration may be affordable, | 1:21:07 | 1:21:09 | |
but it's also a risk. | 1:21:09 | 1:21:11 | |
The man we chose for the arbitration panel is a safe bet, but I'm worried about the other two, I can't lie. | 1:21:11 | 1:21:16 | |
The one chosen by the Austrian State is a strict traditionalist. | 1:21:16 | 1:21:19 | |
I can't see her deciding in your favour. | 1:21:19 | 1:21:21 | |
And as for the third... | 1:21:21 | 1:21:23 | |
well, it's a gamble. | 1:21:23 | 1:21:24 | |
-Here's hoping. -I never thought you would come back and, personally, | 1:21:24 | 1:21:28 | |
I need to be honest, I don't think it's the right decision. | 1:21:28 | 1:21:30 | |
You are betting on Austria having changed. | 1:21:30 | 1:21:32 | |
Hi. | 1:21:38 | 1:21:39 | |
Yeah, two tickets, please. | 1:21:41 | 1:21:43 | |
You have the same name as the composer. | 1:21:43 | 1:21:45 | |
What a coincidence. | 1:21:45 | 1:21:47 | |
CLASSICAL MUSIC PLAYING | 1:21:48 | 1:21:51 | |
-MAN: -The Austrian Government has provided | 1:22:30 | 1:22:32 | |
its case in writing for our perusal. | 1:22:32 | 1:22:35 | |
Mr Schoenberg, you, too, were offered the opportunity | 1:22:36 | 1:22:39 | |
to do so, but you have opted | 1:22:39 | 1:22:41 | |
to present the introductory points | 1:22:41 | 1:22:43 | |
of your argument orally, as well. | 1:22:43 | 1:22:45 | |
The floor is yours. | 1:22:45 | 1:22:47 | |
Thank you, sir. | 1:22:47 | 1:22:48 | |
Ladies and gentlemen, | 1:22:54 | 1:22:56 | |
I'm pleased to be standing before you today for two reasons. | 1:22:56 | 1:22:59 | |
Firstly, like my opponents in this case, | 1:22:59 | 1:23:02 | |
I've always believed it was a domestic issue for Austria, | 1:23:02 | 1:23:05 | |
which should be settled... | 1:23:05 | 1:23:07 | |
..within her borders. | 1:23:09 | 1:23:11 | |
-WHISPERING: -The first time, I came for myself. | 1:23:16 | 1:23:18 | |
This time, I came for him. | 1:23:18 | 1:23:20 | |
And the second reason that I'm happy, | 1:23:24 | 1:23:27 | |
happy to be in Vienna, | 1:23:27 | 1:23:28 | |
was because my client, | 1:23:28 | 1:23:31 | |
Mrs Altmann, and I are both Austrians. | 1:23:31 | 1:23:34 | |
But don't get me wrong, we're very much Americans, too, | 1:23:34 | 1:23:36 | |
but our families, and the roots we share, | 1:23:36 | 1:23:40 | |
are situated in the culture of this very city. | 1:23:40 | 1:23:43 | |
And somewhere in the heart of this world | 1:23:44 | 1:23:46 | |
stands a woman whose portrait both sides are fighting for - | 1:23:46 | 1:23:51 | |
Adele Bloch-Bauer. | 1:23:51 | 1:23:52 | |
During my visits to this country, I've discerned | 1:23:53 | 1:23:56 | |
that there are two Austrias, one which opposes restitution to the victims of Nazism, | 1:23:56 | 1:23:59 | |
but also another, which recognises the injustices | 1:23:59 | 1:24:03 | |
committed against Austria's Jewish population and, against all odds, seeks to rectify it. | 1:24:03 | 1:24:08 | |
As I hope I've demonstrated in my written arguments, | 1:24:08 | 1:24:11 | |
the law favours restitution. | 1:24:11 | 1:24:12 | |
A string of events and misdeeds | 1:24:12 | 1:24:15 | |
point to the incontestable fact | 1:24:15 | 1:24:17 | |
that the paintings in question reached the Belvedere | 1:24:17 | 1:24:19 | |
and remained there for over half a century, in a manner that was both dishonest and illegal, | 1:24:19 | 1:24:24 | |
and that Adele's will itself was not legally binding. | 1:24:24 | 1:24:27 | |
So, in its own way, ladies and gentlemen, this is a moment in history, | 1:24:27 | 1:24:31 | |
a moment in which the past is asking something of the present. | 1:24:31 | 1:24:35 | |
Many years ago, just outside these walls, terrible things happened. | 1:24:35 | 1:24:39 | |
People dehumanised other people, | 1:24:39 | 1:24:41 | |
persecuted them, | 1:24:41 | 1:24:43 | |
sent many of them to their deaths, | 1:24:43 | 1:24:45 | |
decimating entire families. | 1:24:45 | 1:24:47 | |
And they stole from them. | 1:24:47 | 1:24:49 | |
Properties, livelihoods, | 1:24:49 | 1:24:51 | |
objects most precious to them. | 1:24:51 | 1:24:54 | |
And amongst those people were the Bloch-Bauers, | 1:24:55 | 1:24:58 | |
the family of a very dear friend of mine. | 1:24:58 | 1:25:01 | |
So, now I'm asking you, as Austrians, | 1:25:03 | 1:25:05 | |
as human beings, | 1:25:05 | 1:25:07 | |
to recognise that wrong. | 1:25:07 | 1:25:09 | |
Not just for Maria Altmann, | 1:25:09 | 1:25:12 | |
but for Austria. | 1:25:12 | 1:25:14 | |
Would you look at that. | 1:25:18 | 1:25:20 | |
When I was a child, | 1:25:20 | 1:25:22 | |
my father used to bring me here on Sundays. | 1:25:22 | 1:25:24 | |
Yes, me too. For waffles and ice cream. Yes. | 1:25:24 | 1:25:26 | |
My father was an impressive man. | 1:25:28 | 1:25:30 | |
When I was a small boy, I looked up to him. | 1:25:30 | 1:25:33 | |
Worshipped him. | 1:25:33 | 1:25:35 | |
And you wanted to grow up to be like him. | 1:25:35 | 1:25:38 | |
When I was 15, I discovered that he had been a Nazi, Maria. | 1:25:41 | 1:25:44 | |
A passionate follower of the Third Reich. | 1:25:45 | 1:25:47 | |
All my life, I've been trying to make up for the sins of the father. | 1:25:49 | 1:25:53 | |
Every day, asking myself | 1:25:53 | 1:25:55 | |
how he could become the person he was. | 1:25:55 | 1:25:57 | |
And every day trying to move away from him. | 1:25:57 | 1:26:00 | |
You are a fine man, Hubertus. | 1:26:05 | 1:26:07 | |
A good man. | 1:26:07 | 1:26:08 | |
PHONE CHIMES | 1:26:10 | 1:26:12 | |
Is that it? | 1:26:12 | 1:26:13 | |
Yeah. | 1:26:13 | 1:26:15 | |
MARIA SIGHS | 1:26:15 | 1:26:17 | |
Come on. | 1:26:17 | 1:26:18 | |
Ohhh... | 1:26:18 | 1:26:20 | |
My heart is beating. | 1:26:20 | 1:26:22 | |
CROWD MURMURING | 1:26:25 | 1:26:28 | |
We, the arbitrators, have now studied both sides of this complex case. | 1:26:33 | 1:26:39 | |
Trying to keep an open mind | 1:26:39 | 1:26:41 | |
as we examine the evidence, | 1:26:41 | 1:26:44 | |
we have reached our final verdict. | 1:26:44 | 1:26:46 | |
Our decision today is that the portrait of Adele Bloch-Bauer | 1:26:48 | 1:26:53 | |
and the other Klimt paintings in question | 1:26:53 | 1:26:56 | |
should be returned to her niece... | 1:26:56 | 1:26:58 | |
CHEERING AND SHOUTING | 1:26:58 | 1:27:00 | |
..Maria Altmann. | 1:27:00 | 1:27:02 | |
For the first time in a long while, | 1:27:27 | 1:27:29 | |
I'm proud to call myself an Austrian. | 1:27:29 | 1:27:31 | |
Oh, you should be. | 1:27:31 | 1:27:32 | |
It's almost press time. How do I look? | 1:27:32 | 1:27:34 | |
Sexy and victorious. | 1:27:34 | 1:27:36 | |
-Oh, yeah? -How do I look? -You look sexy and victorious. | 1:27:36 | 1:27:40 | |
Mrs Altmann, may I have a word? | 1:27:40 | 1:27:42 | |
Yes, of course. | 1:27:43 | 1:27:45 | |
I'm defeated... | 1:27:48 | 1:27:50 | |
but I will ask you, beg you, | 1:27:50 | 1:27:53 | |
entreat you... | 1:27:53 | 1:27:56 | |
not to let these paintings leave their motherland. | 1:27:56 | 1:27:59 | |
Let us come to an arrangement. | 1:27:59 | 1:28:01 | |
I'm sure we can make a generous offer. | 1:28:01 | 1:28:03 | |
I, too, am sad that they will not stay in Adele's country. | 1:28:05 | 1:28:09 | |
But all along, I have tried to negotiate, | 1:28:10 | 1:28:13 | |
I have tried to keep the dialogue open, | 1:28:13 | 1:28:15 | |
and all along, you have thwarted me and closed the doors in my face. | 1:28:15 | 1:28:18 | |
So, now... | 1:28:20 | 1:28:22 | |
I am tired | 1:28:22 | 1:28:24 | |
and my aunt will cross the Atlantic | 1:28:24 | 1:28:26 | |
to make her home in America, as I once had to. | 1:28:26 | 1:28:30 | |
Goodbye, Mrs Altmann. | 1:28:30 | 1:28:32 | |
I think our friend might be needing a little attention. | 1:28:39 | 1:28:42 | |
Yeah. | 1:28:42 | 1:28:44 | |
Have I mentioned we couldn't have done it without you? | 1:28:45 | 1:28:47 | |
No. | 1:28:47 | 1:28:49 | |
HE CHUCKLES | 1:28:50 | 1:28:51 | |
KNOCKING ON DOOR | 1:29:07 | 1:29:09 | |
Maria? | 1:29:09 | 1:29:10 | |
In a moment, Randy. | 1:29:12 | 1:29:14 | |
You all right? | 1:29:15 | 1:29:16 | |
Thank you, my darling. | 1:29:20 | 1:29:21 | |
Thank you from the bottom of my heart, | 1:29:21 | 1:29:24 | |
for all you have done. | 1:29:24 | 1:29:26 | |
But my mistake was in thinking that it... | 1:29:28 | 1:29:30 | |
that it would make everything all right, | 1:29:30 | 1:29:32 | |
make it better. | 1:29:32 | 1:29:34 | |
You know, it doesn't... | 1:29:37 | 1:29:39 | |
..because I left them here. | 1:29:42 | 1:29:44 | |
I left them here, my love. | 1:29:49 | 1:29:51 | |
MARIA SOBS QUIETLY | 1:29:55 | 1:29:57 | |
SHE SNIFFLES | 1:30:06 | 1:30:08 | |
SHE SOBS | 1:30:10 | 1:30:12 | |
IN GERMAN: | 1:30:17 | 1:30:19 | |
IN ENGLISH: And so...from now on | 1:30:54 | 1:30:58 | |
we speak in the language of your future. | 1:30:58 | 1:31:01 | |
HE CHUCKLES | 1:31:03 | 1:31:04 | |
When our family came to Vienna, | 1:31:09 | 1:31:11 | |
Maria... | 1:31:11 | 1:31:14 | |
they were not rich people. | 1:31:14 | 1:31:15 | |
We worked hard. | 1:31:17 | 1:31:18 | |
We did everything we could to contribute, | 1:31:19 | 1:31:23 | |
and to belong. | 1:31:23 | 1:31:24 | |
We are proud of what we have done | 1:31:26 | 1:31:28 | |
and we are proud of our children. | 1:31:28 | 1:31:31 | |
Nobody can take that away from us. | 1:31:32 | 1:31:34 | |
And now... | 1:31:37 | 1:31:39 | |
THERESE SNIFFLES | 1:31:39 | 1:31:41 | |
..as you go... | 1:31:41 | 1:31:42 | |
..I ask you only one thing, mein Liebling. | 1:31:46 | 1:31:50 | |
What is it, Papa? | 1:31:51 | 1:31:52 | |
Remember us. | 1:31:55 | 1:31:56 | |
THEY SOB | 1:32:02 | 1:32:05 | |
IN GERMAN: | 1:32:24 | 1:32:27 | |
SHE SOBS QUIETLY | 1:32:41 | 1:32:44 | |
So... | 1:32:56 | 1:32:58 | |
now? | 1:32:58 | 1:33:00 | |
I have been thinking about that smart Mr Lauder. | 1:33:00 | 1:33:03 | |
I think I want Adele to go and live in his gallery. | 1:33:03 | 1:33:06 | |
My only condition is that she must always be on public display. | 1:33:06 | 1:33:10 | |
That way, everyone can marvel at her. | 1:33:10 | 1:33:12 | |
After all, she is a little too big for my bungalow. | 1:33:12 | 1:33:16 | |
You could buy a new bungalow. Buy anything you want. | 1:33:16 | 1:33:19 | |
I'd like a new dishwasher. | 1:33:20 | 1:33:23 | |
You know, your grandfather would be proud of you. | 1:33:23 | 1:33:26 | |
You are keeping the memory alive. | 1:33:28 | 1:33:31 | |
Well, I didn't do it alone. | 1:33:31 | 1:33:33 | |
-Would you excuse me just for one moment? -Sure. | 1:33:38 | 1:33:41 | |
PHONE RINGS IN DISTANCE | 1:33:59 | 1:34:02 | |
IN GERMAN: | 1:34:11 | 1:34:15 | |
LAUGHTER | 1:34:42 | 1:34:44 | |
MELANCHOLIC MUSIC SOUNDTRACK OVER SPEECH | 1:34:55 | 1:34:58 |