Gemini says: Amanda Alexander’s chapter (“Lenin at Nuremberg: Anti-Imperialism and the Juridification of Crimes”) in the 2021 book Revolutions in International Law: The Legacies of 1917 provides a critical, structural counter-narrative to the individualistic and psychological focus of James Vanderbilt’s upcoming film Nuremberg. While the film (based on Jack El-Hai’s The Nazi and the Psychiatrist) frames the trial as a psychological duel regarding the nature of evil and the Holocaust, Alexander’s historical analysis reveals that the trial’s legal architecture was actually built on a Soviet-influenced theory of imperialism, where the “supreme crime” was not the Holocaust, but aggressive war.
The following sections detail how Alexander’s chapter adds depth and contrast to the cinematic narrative:
1. Reframing the “Crime of Crimes”
The Movie Narrative: The film centers on the psychological profile of Nazis to understand “evil,” with the Holocaust (Crimes Against Humanity) portrayed as the moral center of the trial. The dramatic tension likely revolves around exposing these atrocities to the world.
Alexander’s Contrast: Alexander argues that at the time of the trial, the legal “crime of crimes” was actually Crimes Against Peace (aggressive war). She explains that the trial legally subordinated Crimes Against Humanity to the war itself. The Holocaust was prosecuted not as an independent genocide, but as a method of securing the home front to wage aggressive war. This explains the “odd” legal structure where atrocities were only punishable if linked to the war effort—a nuance often lost in films that center the Holocaust as the primary legal charge.
2. The Soviet Intellectual Contribution vs. Western Heroism
The Movie Narrative: The film highlights American figures like Justice Robert Jackson (Michael Shannon) and psychiatrist Douglas Kelley (Rami Malek) as the architects of justice and insight. The Soviets are typically marginalized or depicted merely as political obstacles.
Alexander’s Contrast: The chapter reveals that the very concept of “Crimes Against Peace”—the centerpiece of the trial—was heavily influenced by the Bolshevik theory of imperialism and specifically the work of Soviet jurist Aron Trainin. Alexander notes that Jackson’s own rhetoric about the “foul doctrine” of imperialist war echoed Trainin’s theories almost verbatim. This adds depth by showing that the “American” victory at Nuremberg relied intellectually on Soviet Marxist legal theory.
3. Nazism as Colonialism vs. Pathological Evil
The Movie Narrative: The film investigates whether the Nazis were “mad” or “bad,” focusing on individual pathology and narcissism (Göring’s ego vs. Kelley’s analysis).
Alexander’s Contrast: Alexander shifts the lens from psychology to economics and colonialism. She argues the trial presented the war as an inevitable result of capitalist imperialism—a struggle for resources (grain, oil, labor). In this view, the Nazis were not just “evil” individuals, but radical colonizers attempting to turn Eastern Europe into a colonial empire for economic exploitation. This provides a structural motivation for the war that a psychological profile of Göring misses.
4. The Narrative of the Holocaust
The Movie Narrative: The Holocaust is treated as the horrific climax of Nazi racial ideology, often separated from the war effort itself.
Alexander’s Contrast: The chapter explains that the prosecution framed the persecution of Jews specifically as a preparation for war. By viewing the Holocaust through the lens of imperialist expansion (clearing land for German settlement and resource extraction), the trial actually “distorted” the history of the Holocaust to make it fit the legal charge of aggressive war. This offers a darker, more complex legal reality: the victims were vindicated in court only insofar as their suffering could be tied to the “supreme crime” of breaching the peace.
LF: “Am I missing something? It didn’t feel like there were any heroes in the 2025 movie Nuremberg?”
You’re not missing anything. The 2025 Nuremberg goes out of its way not to give you heroes. That’s actually the core of its tone. It’s not a “victors bring justice to the wicked” film. It’s a bleak, procedural, psychologically claustrophobic drama. And that choice shapes how the story lands.
Here’s why it feels hero-less.
I. The film centers on a compromised protagonist
Rami Malek’s psychiatrist isn’t a traditional moral anchor. He’s anxious, self-doubting, and often overwhelmed. The movie strips him of the usual Hollywood aura. He’s just a guy trying to figure out if monsters are sane enough to prosecute. That’s deliberately unheroic. His job is bureaucratic and morally ambiguous, not triumphant.
II. Jackson isn’t filmed as a savior either
Michael Shannon’s Robert Jackson is stern, troubled, and burdened by the political compromises behind the trial. The movie refuses to paint him as righteous. He’s competent and committed, but not shining. There are no swelling speeches asking the audience to believe in the system.
III. The emotional center is Göring
That alone kills any heroic framing. Russell Crowe’s Göring is charismatic, manipulative, and theatrically self-possessed. He dominates the screen in a way designed to unsettle the viewer. The film is fascinated with him, not with the men prosecuting him.
When the villain is the most compelling presence in the room, the story can’t easily generate heroes.
IV. The film treats trial procedure like moral quicksand
Nothing in the courtroom feels uplifting. Everything feels procedural, constrained, and compromised. Nobody comes out looking noble. You don’t get the catharsis that old Nuremberg portrayals gave you. It’s almost the opposite of Judgment at Nuremberg. It’s a portrait of a process, not a morality play.
V. The movie’s thesis: Nuremberg wasn’t clean
The tone suggests that the trial was necessary but also deeply fraught. It doesn’t let anyone feel morally uncomplicated. The Allies don’t get halo lighting. The lawyers don’t get redemption arcs. The psychiatrist doesn’t get personal closure. The ending isn’t triumphant.
This is exactly where Amanda Alexander’s chapter helps.
She shows that Nuremberg wasn’t built on heroic liberal humanitarianism. It was built out of political compromises, ideological tensions, anti-imperial critiques, and a messy attempt to criminalize war itself. There were no clean heroes in the historical structure either.
The film feels hero-less because it quietly matches that reality. It strips away the comforting myth.
Gemini says: You aren’t missing anything; your observation aligns with the core intent of the filmmakers and the reaction of many critics. The 2025 film Nuremberg deliberately subverts the traditional “hero vs. villain” narrative to explore moral ambiguity and the uncomfortable reality that evil is often banal and human.
Here is a breakdown of why the film avoids presenting clear-cut heroes:
1. The “Protagonist” is Compromised
While Dr. Douglas Kelley (Rami Malek) is technically the protagonist, the film portrays him as deeply flawed rather than heroic.
Ambition over Justice: Kelley is often depicted as an “overconfident opportunist” who is less motivated by justice than by the desire to write a bestselling book and achieve personal glory.
Moral Greyness: He crosses professional and ethical lines to gain Göring’s trust, leading to a dynamic that feels more like a “friendship” or a “cat-and-mouse game” than a righteous interrogation.
Lack of Rooting Interest: As one review noted, “Are we rooting for him, though? Not exactly.” His motivations are self-serving, and his manipulation by Göring makes him seem naive rather than triumphant.
2. The “Villain” is Humanized (Uncomfortably so)
The portrayal of Hermann Göring (Russell Crowe) further blurs the lines by making the central villain charismatic and complex.
Manipulative Charm: Göring is portrayed as witty, intelligent, and a devoted family man, which can be disarming and “chilling”.
Dominating the Narrative: He often outwits Kelley and controls the conversations, which deprives the audience of the satisfaction of seeing the “good guy” win the intellectual battle.
3. Justice Robert Jackson: A Hero by Default?
The closest figure to a traditional hero is U.S. Chief Prosecutor Robert H. Jackson (Michael Shannon).
The Voice of Law: He represents the ideal of the rule of law over vengeance, fighting against summary executions in favor of a fair trial.
A Hollow Victory: However, even his “victory” is portrayed by some critics as “hollow” or “predictable,” lacking the emotional payoff of a typical cinematic triumph because the ultimate outcome (death) is already known and inevitable.
Conclusion
The film appears designed to leave you with a sense of unease rather than triumph. By stripping away the clear hero archetypes, Nuremberg forces the audience to confront the fact that the Nazis were not cartoon monsters, but human beings, and that the people who defeated them were also flawed individuals driven by complex motives. Your feeling that there were “no heroes” is a valid interpretation of the film’s “morally murky territory”.
Amanda Alexander writes in this 2021 book:
Lenin at Nuremberg: Anti-Imperialism and the Juridification of Crimes against Humanity
The Nuremberg trials stand as a pivotal moment in any history of international law, international humanitarian law, international criminal law and international human rights.1 As Teitel writes, ‘the trials at Nuremberg represented a unique historical crossroads for the three legal orders that form the humanity law framework’.2 By introducing crimes
against humanity into international law, the trials are said to have contributed to the creation of a new normative order, aimed at protecting vulnerable humanity.3 For prosecuting individuals for these and other war crimes, they are presented as an example of the rationality and calm procedure of international law overcoming violence, power and the baser instincts of revenge.These accounts of international criminal or international humanitarian law relate what could be described as a liberal or Enlightenment narrative of international law. International law, in these narratives, embodies the enlightened values of rationality, legality and humanity – and the Nuremberg trials represent an important moment in the (slow) movement towards the advancement and realisation of these values….
This approach to the Nuremberg trials not only places the International Military Tribunal (IMT) in an Enlightenment narrative about international law, it also looks to the trials to tell this narrative. The pedagogical role of the Nuremberg trials, and other war crimes trials, has been noted by a number of observers.6 Such trials are expected to relate an accurate, impartial history while demonstrating enlightened values through the ‘civilised institutional drama of a trial at law’.7 Mark Osiel termed such trials ‘liberal show trials’.8
…The Nuremberg trials therefore have an important place in any account of the advancement of humanitarian, liberal values in international law. Yet, when held up against these expectations, the Nuremberg trials often seem to fall short – both as a legal institution and as an historical account. The Nuremberg trials bear the stain of victors’ justice and they stir doubts about retrospective law.9 The trials were uninspiring;10 they relied too much on documentary evidence and listened too little to the voices of victims.11 Most importantly, crimes against humanity, observers note, were oddly limited.12 Under the Charter, they had to be linked to crimes against peace or war crimes.13 As a result, the IMT told a distorted history.14
In this chapter, I suggest that the IMT falls short when assessed according to these measures because it did not just tell the expected Enlightenment narrative and it did not intend to prosecute crimes against humanity in the way we understand them now. Rather, I will argue that the way the crimes were codified and then described at the
trials shows that another narrative was also at work. This was an antiimperial narrative that drew on Marxist theory and was given a practical impetus by the Bolshevik Revolution. It spread, in a diluted form, to ‘advanced opinion’ throughout the West.15 The Marxist approach described war, even European wars, as the result and expression of
imperialism. Imperialism was an economic institution, and its depredations were depicted primarily in economic terms. Aggressive, imperialist war was, in this narrative, the worst crime – the crime that led to all the other horrors of war. An international legal regime that condoned imperialist war was, therefore, so ethically misguided that it should be changed.…There are lingering doubts about the legality of the new crimes that the IMT introduced – crimes against peace and crimes against humanity.25 Both lacked a clear pedigree in
international law……The exclusion of Allied crimes meant a partial historical account.31 The ‘peculiarity’32 of the decision to link crimes against humanity to crimes against peace, and the odd focus on aggressive war,33 meant that the prosecution had to distort the history of the persecution of the German Jews before the war, making it appear as part of the preparations for aggressive war.34 Indeed, as scholars have pointed out, the IMT did not relate the history of crimes that we now associate with the Second World War.35 It was not, in the main, a history of the Jewish Holocaust nor a record of the victims of the war. Victims’ voices were seldom heard in a trial that prioritised the probative value of
documentary evidence.36 These choices undermined the ability of the IMT to write a history that emphasised the value of humanity. They also made for a ‘boring’ trial37 that failed to produce the ‘compelling’ liberal narrative that Osiel expects war crimes trials to strive for.…”crimes against humanity, has, from the very beginning, caught the imagination of international lawyers as laying down, prima facie, a set of novel principles of law. The
provisions relating to crimes against humanity have been acclaimed as ‘a revolution in international criminal law’. Others have described it as an innovation inconsistent with international law…”…Crimes against peace were equally problematic. The UK90 and French91 delegations at the London Conference stated clearly that they did not consider aggression or crimes against peace to be part of international law.
…the initiation of a war was not deemed an international crime at the time…
…Sir David Maxwell Fyfe: “I have been approached by various Jewish organizations and should like to satisfy them if possible. I have in mind only such general treatment of the Jews as showed itself as a part of the general plan of aggression…”
…Robert Jackson: “The reason that this program of extermination of Jews and destruction of the rights of minorities becomes an international concern is this: it was a part of a plan for making an illegal war. Unless we have a war connection as a basis for reaching them, I would think we have no basis for dealing with atrocities.”
…that aggressive war was criminal, that there could be unjust, unlawful wars, did entail a significant change to international law. It was, however, a justified change; it meant leaving behind an imperial era where colonisation was acceptable and acknowledging the injustice of colonial wars. This would change the international order from an unethical order to a better one. The similarity of these sentiments in US thought and Soviet literature shows that the idea of a crime against peace was not just a bizarre obsession urged by Robert Jackson. Rather it was a widespread sensibility, found in Marxist and Western anti-imperial literature, that informed the way war could be described, understood and condemned.
…This was the story, the story of aggressive, imperialist war, that was presented at the Nuremberg trials. Once the trial began, the Soviet, English and US prosecution stifled any of their doubts about crimes against peace. Together, they agreed on the legal provenance of aggression.
…Aggressive war was, the Soviets, British and Americans insisted, the central and principal crime from which the other crimes stemmed.
…it was unwavering in its efforts to fit the events of the Nazi period into an overarching story of aggressive war. Nor was this just any aggressive war that the court described – it was an aggressive colonial war, and the crimes it produced were shown to be the consequences of imperialism…
Gemini: Amanda Alexander’s chapter offers a compelling revisionist history of the Nuremberg Trials (the International Military Tribunal or IMT). She challenges the orthodox “Enlightenment narrative” which portrays Nuremberg as the moment liberal internationalism and human rights triumphed over tyranny .
Instead, Alexander argues that the legal architecture of Nuremberg was fundamentally shaped by a Bolshevik and Marxist theory of imperialism. She suggests that the trial was not primarily about the Holocaust or human rights in the modern sense, but about criminalizing “Imperialist War” (Crimes against Peace), viewing atrocities against civilians (Crimes against Humanity) as merely a byproduct of economic aggression.
Key Strengths and Arguments
1. Solving the “Puzzle” of the Nexus Requirement One of the most persistent questions in international law is why the Nuremberg Charter required “Crimes against Humanity” to be linked to the war (the nexus requirement), rather than treating them as standalone atrocities. Alexander provides a robust answer: the drafters viewed the world through an anti-imperialist lens where aggressive war was the root evil.
She traces this to the Marxist theory (via Lenin and Hobson) that imperialism is an economic institution that inevitably leads to war for resources and markets.
Consequently, the atrocities committed by the Nazis were legally conceptualized not as racial genocide per se, but as tools of imperial expansion and colonial administration.
2. The Soviet Influence on Western Legal Thought Alexander persuasively argues that Soviet legal theorist A.N. Trainin had a profound influence on the trial’s structure, specifically the concept of “Crimes against Peace.”
She highlights that Trainin’s work, The Criminal Responsibility of the Hitlerites, argued that international law had failed because it protected imperialist aggression.
Crucially, she demonstrates that this was not just a Soviet imposition. Western figures like Robert Jackson (US Chief Prosecutor) and William Chanler shared a similar “sensibility”—a distrust of the “age of imperialism” and a belief that war was caused by economic greed. This convergence allowed Soviet concepts to permeate the trial.
3. Reframing the Holocaust as a Colonial Project The chapter offers a fascinating analysis of how the IMT described Nazi crimes. Alexander points out that the prosecution and judges framed the extermination in the East and the slave labor programs as methods of economic spoliation and colonization.
The trial record is filled with references to Germany seeking a “colonial empire” and treating Poland and the Soviet Union as colonies for economic exploitation.
This explains why the Holocaust was distorted in the trial record; it was shoehorned into a narrative about economic imperialism to fit the legal theory that “aggressive war” was the supreme crime.
This chapter is highly successful in displacing the romanticized view of Nuremberg. It convincingly argues that the trial was not a pure expression of liberal humanism but a specific product of 1945 political thought, where the “horror” being addressed was not just mass murder, but the economic devastation of imperial war.
It explains the “failures” of the IMT (such as ignoring the pre-1939 persecution of Jews) not as oversight, but as a faithful application of the anti-imperialist narrative: if the crime is the war, domestic atrocities are only relevant if they are preparations for war.
Implications for International Law Alexander’s conclusion is provocative: Crimes against Humanity entered international law through the “back door” of anti-imperialism. They were not the primary goal of the trial but were dragged in as secondary consequences of the primary crime: Aggression.
This challenges modern international lawyers to recognize that the foundational moment of their discipline was rooted in a Marxist-influenced critique of capitalism and empire, rather than solely in liberal individualism.
“Lenin at Nuremberg” is a sophisticated piece of legal history. It effectively de-centers the Western liberal narrative and restores the visibility of the Soviet contribution to international criminal law. By explaining the economic and anti-imperialist logic that underpinned the trial, Alexander makes sense of the legal anomalies of Nuremberg that continue to confuse modern observers. It is an essential read for understanding why the crime of aggression was once considered the “supreme international crime,” a status it has largely lost in contemporary international law.

