The Books Grief

(The Book Thief Review By Neamo)

I'd like to start with an explanation as to why I'm reviewing this film rather than the promised critique of Ghost Town. If I'm entirely honest, I felt it might be insensitive on my part to review a film entitled such just after writing a memorial for an actor I held in high esteem. It might seem overtly cautious, but it's simply a mark of my own respect. As such I'll complete that review at another time, and lead on with my take on The Book Thief in it's stead.

Opening in the pale of winter, our narrator, Death, takes us on a whimsical and light hearted journey into the depths of Nazi Germany in order to tell us in tones of drawl nostalgia of a member of the Hitler youth he became enraptured with. Liesel, played by Sophie Nélisse, is a girl of communist parents who serves as our titular protagonist, the book thief, and lives alongside the jovial Hans played by Geoffrey Rush and the staunch Rosa portrayed by Emily Watson. Encouraging Liesel to come out of her shell by teaching the girl how to read, Hans ultimately feeds a literary fire within the impressionable Liesel, who in warming to the magic of the snow draped swastika's takes it upon herself to fuel her passion where-ever available. Befriending an Aryan sprint racer with a penchant for black face, Liesel's foster family pay an old debt in taking a Jewish refugee into their house, and life goes on as it may with the sickly but carefree fellow. As time passes, ultimately her friend Max is forced to leave in the increasing pressure of house searches, and Hans too is drafted into war, and while I would like to tell you the crux of this story is of how Liesel steals books, it isn't. It's a bomb. I'm not joking. In a segment that breaks through all traditional story telling rapture of five minutes, a bomb falls on their house killing all but Liesel. Liesel, momentarily filled with despair and ennui, is delighted to find a book after walking past her perfectly preserved friends and family, shrouded by their ruined homes of rubble and splintered timber. Cutting forward, Liesel meets up with Max once more who strides in looking decidedly more debonair than is to have been expected, and it's all finished with a happy and heart warming monologue from the Grim Reaper. It's a family film.

I'm more than a little conflicted in reviewing the plot of this film. I have been assured that the book this originated from portrays the story with the depth this seems to yearn for, but as I haven't read the book I shall have to take those words at face value. Feeling much like a thing of grandeur pulped down for the sake of being concise, the film consistently brings red herrings into the foray in order to build tension, only to let them wane and fade away. Max and his introduction? Merely a footnote. The book given to Liesel, inscribed with Hebrew? A momentary flutter of the imagination. Even the principle act of stealing books builds to nothing as no repercussion save brief scolding amounts of it, and it leaves a man feeling dour. I'm certain these thematic elements were better placed and more deeply drawn within the pages of the original book, but on film it feels like random tangents designed to fill space until the ending act. When the film is entitled the book thief, and aside from a love of literature it has no deep bearing on the plot, one can be forgiven for feeling decidedly misanthropic about the entire affair. The film instead showed a girl's coming of age and development within Nazi Germany, nothing more and nothing less.

The ending of the film is perhaps my largest gripe, and it's also the source of my inner struggle. It's garbage. I know I'll piss off some of the story's more ardent fans who will applaud that it keeps true to character, and shows that death may come for any at a moment's notice. I'm not denying that, nor am I denying the validity considering it's setting. The reason this ending is garbage is entirely involved in it's set up and aftermath. The bomb wipes out the town, and abandoning all reason now that those countless plot devices and mechanisms built carefully from before are now lain to waste, we are left back at square one. That would be fairly bad, but I could live with her clambering from the wreckage and perhaps the ending scene there. Instead after a moment or two of grief we are treated to a sickly sweet reunion and monologue finish in the expanse of five minutes. I felt cheated. Deservedly so. I had felt the tension of the prior moments, and felt eager for the plot to build and gather pace, but it didn't. It simply ended, after an event that was by all other measures an act of deus ex machina. I'm flabbergasted that this was the agreed screenplay, and while the ride til this point had been faintly enjoyable, I quickly regretted investing any time in it.

To talk of the acting, it is for the most part masterfully executed. While I didn't attach to Liesel's dry and rather listless performance as the most ignorant girl on Earth, it wasn't wholly unbelievable. To speak of the girl as an actress however feels to be too much of a kindness, and I would instead compare her to a talking prop. Overtly harsh? Possibly, but she truly gave the weakest performance of the principle cast, and she was the lead protagonist. Geoffrey Rush and Emily Watson's performances in turn however were things of beauty, as beneath the kindness both seem tired and drawn. In each scene a haunted expression lurks beneath a down trodden smile, or a furtive glance to each tender gesture that otherwise betrays a prior history only hinted at on screen, and it adds true character depth. Ben Schnetzer gives a fair performance as the sickly Max, and although the plot remains a little contrived over the issue, he remained a presence. Nico Liersch gave one of if not the best performances of the film however as Rudy. Proving that children can act in the wake of the lauded but lackluster lead performance, Nico's character remains one of the films true moral centers, and assists in the immersion of the viewer. Oh, and where would I be if I didn't mention Death? Voiced by the legendary Roger Allam, it's a voice that I both instantly recognized and held favor to. A good casting decision.

The music and mise en scene are appropriate to the era. I can't say I was blown away by the setting, but it was a snow capped village in Nazi Germany, and it was never going to be a festival of light and sound. For the large part the music evaded me, save for the juxtaposition of one beautifully shot scene where a choir of the Nazi Youth are singing soft and lilting tones to the cut overture of the Kristallnacht and the horrors therein. I also noted the original German national anthem being sung at the burning of books, which while entirely appropriate became quickly drawn out. It was as it was.

I can't recommend this film with an open heart or ease. For the most part it's fairly unoffensive and actually provides very decent performances from it's leads. It's set well, and the ride though infuriating can provide some satisfaction. It ends however not with a bang, but a whimper. I'd suggest Schindler's List if you are looking for something of that time period that actually provides depth. Or perhaps The Boy In The Striped Pajamas. Watch something else.