Prepare to have your heart wrenched—because the most gut-wrenching moment in the WWII drama Nuremberg isn’t just a scene; it’s a raw, unfiltered glimpse into the soul of a man who lived through history’s darkest chapter. And this is the part most people miss: it’s not just about the war crimes on trial, but the personal stories of those who bore witness. Rising star Leo Woodall steps into the shoes of Army translator Howard Triest, a real-life figure, for the first time in his career—and the weight of that responsibility is palpable. But here’s where it gets controversial: how do you honor someone’s legacy without turning their story into a Hollywood spectacle? Woodall faced this dilemma head-on, especially after meeting Howard’s relatives, Katie and Jonathon Triest, at a film festival. Their presence at the Toronto premiere wasn’t just a formality—it was a reminder that this wasn’t just a role; it was someone’s grandfather, someone’s history.
Spoiler alert: if you haven’t seen Nuremberg yet, you might want to stop here. Directed by James Vanderbilt, the film pairs Woodall’s Triest with psychiatrist Douglas Kelley (played by Rami Malek), tasked with assessing the mental state of Nazi prisoners like Hermann Göring (Russell Crowe). For much of the film, Triest remains an enigma—a helpful soldier in a Detroit Tigers cap. But when Kelley is dismissed after questioning the prosecution’s ability to convict the Nazis, Triest steps up in a way that changes everything. At a train station, as Kelley prepares to leave, Triest reveals his haunting backstory: born in Munich to a Jewish family, he was sent to the U.S. as the Nazis rose to power, while his parents perished in Auschwitz. His sister survived, but the scars of his past are etched into every word he speaks.
This isn’t just a scene—it’s a masterclass in restraint. Woodall’s tear-streaked performance is deliberate, never overplayed. ‘The story is heartbreaking,’ he explains. ‘You just need to tell it.’ But here’s the kicker: Woodall admits Triest probably would’ve hated being called ‘Howie,’ a nickname the film uses. Is it disrespectful to take such liberties with a real person’s identity? Or is it a necessary artistic choice to humanize him for audiences?
Woodall’s approach to the role was anything but superficial. He dove into research, watching the 2006 documentary Journey to Justice and studying Triest’s interactions with Nazi prisoner Julius Streicher, who once claimed he could ‘smell a Jew from a mile away.’ Yet, Woodall didn’t over-intellectualize it. ‘I picked what felt right in my gut,’ he says. This role marks a turning point in his career, following breakout performances in The White Lotus and One Day. Up next? A crime caper called Tuner, where he’ll star alongside Dustin Hoffman—a moment he calls ‘surreal.’
Working with Oscar winners like Hoffman, Malek, and Crowe has been a whirlwind. ‘I choose my moments to go, “Wow, this is crazy!” and moments to go, “This is just a job,”’ Woodall admits. But Nuremberg is more than a job—it’s a testament to the power of storytelling. So, here’s the question: Does a film like this honor history, or does it risk reducing real tragedy to entertainment? Let’s hear your thoughts in the comments—because this is one conversation that deserves to keep going.
