Getman, whose work based on Gulag life is on display at the Heritage Foundation through Dec. 10. As Heritage explains it, “Getman began painting the scenes in secret once freed in 1953 after eight years’ forced labor in Siberia and Kolyma. His own crime? He’d been in the company of a fellow artist who had mocked Stalin with a tiny drawing.” Crandall asks an important question in his article:
Films that use the gulag as a plot device are few and far between. In 1968, there was The Shoes of the Fisherman, in which a Catholic priest imprisoned in a Siberian gulag is released. Central to that film, however, is a potential war between Russia and China, not the “labor camp” the priest leaves behind. Just referring to the prison as a “labor camp” diminishes its impact and pushes it into the character’s back-story. The one film that comes to mind, in which the gulag does play a significant role, is 2003’s I am David. A young boy escapes from a Bulgarian communist prison camp and travels across Europe in order to find the family he was viciously torn from as a child. Most of the film’s action is set in 1950s Europe, but there are several revealing scenes of life in the gulag under the boot of communist oppression.
So why so many excellent films set in or around the Holocaust and so few films using any gulag, be it Soviet, Chinese, North Korean, Cuban, etc.?