'For all its technical competence and moral care, 'Transatlantic' falls short of the art and ideas that inspired it,' writes judyberman
through cooperation with Graham—who’s more excited about the business opportunities a Hitler-controlled Europe might bring to the U.S. than he is at the prospect of shepherding the continent’s intellectuals to safety—Varian grows increasingly frustrated by the apparent indifference of government officials as Nazi troops descend on Marseille.
A villa in the countryside becomes their base of operations. It’s a bittersweet purgatory, where the endangered giants of the European avant-garde play surrealist parlor games, throw wild, eclectic parties, and try to work while waiting for visas or other, less legally sanctioned, forms of expatriation. At center stage, Mary Jayne, Varian, and Albert explore divergent means of resisting the Nazis and guiding refugees to safety.
A climate of chaos and commitment doesn’t keep the main characters from becoming entangled in matters of the heart. Mary Jayne is drawn to Albert’s courage, and he to her idealism; Graham’s jealousy could put both of them in peril. A Harvard man with a wife back home in the States, Varian wrestles with guilt and fear after reconnecting with a male lover. Theseconfirmed by his son
after the publication of Orringer’s novel) illuminates why an American insider might’ve questioned his loyalty to a country that refused to stand up to Hitler. Yet I found these story lines—particularly the Mary Jane-Albert romance, which suffers from a dearth of chemistry between Jacobs and Englander—kind of banal compared with the extraordinary ones relegated to the background.raison d’être and Walter Benjamin , become characters for an episode or two.
The disconnect between subject and story manifests in the show’s form as well as its content. A silent, black-and-white closing credits sequence in the style of early-20th-century European experimental films like
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