The role of Goeth, commandant of the Plaszow death camp in Steven Spielberg’s Oscar-winning film, seems to allow for little subtlety; the man shoots Jews for target practice. But now this capricious monster strides into the basement of his barracks mansion and sees his maid, the lovely Jewish internee Helen Hirsch (Embeth Davidtz). Though he had chosen her as window dressing for the mausoleum he runs, her strength and grace have touched him. For a crucial moment, as we see on Fiennes’ face, evil pauses to consider itself. Could I have a decent feeling? Could I love this base creature, this beautiful thing, this Jewess? Just as quickly, and subtly, Fiennes’ face tells us no. Goeth’s fists flail out, not so much at Hirsch as at the recognition that he is doomed to solitude by his wickedness.
