The Boy in the Striped Pajamas
(C+ or 2.5/4 stars)
Horrifying. No, the 'movie' isn't horrifying. But events IN 'The Boy in the Striped Pajamas', directed by Mark Herman, are quite horrific. Set during WWII, this film tells a story seen through the eyes of an innocent & naive 8 yr. old boy named Bruno (Asa Butterfield). The son of a German concentration camp commandant, he is forbidden to mingle with the Jewish people who live nearby (at said camp). But most 8 yr. olds are too inquisitive for their own good. He goes, & meets a young boy on the other side of the camp fence; this act eventually leads to some unexpected & dire circumstances for every character in the film.
The plot begins once Bruno & his family relocate from wartime Berlin (and their fabulous house) to the quieter countryside. His father (David Thewlis) is given command over the Auschwitz death camp. Along with Bruno is his 12 yr. old sister, Gretel, their maid, Maria, and of course, his mother (Vera Farmiga). Like Bruno, she's not wild about the move either, & she's just as naive as Bruno is about 'certain' wartime affairs. Their new house is a large, compound-like building; warm enough on the inside, but cold from the outside (high walls & barbed fencing make up the soldier-patrolled perimeter). Lonely, Bruno begins exploring his large backyard (against everyone's wishes). And after getting through some woods, discovers an electrified fence. On the other side is Shmuel (Jack Scanlon). He is the boy in the striped pajamas. Though they come from different backgrounds, they develop a deep bond. Bruno is bored & wants a friend. Shmuel is a prisoner who sits by the fence; waiting for friendship ... and maybe some food (from Bruno). The talk, play ball, play chess, & slowly start to make sense of who they are & why they're there. With time, naivete leads to confusion (on Bruno's part), which leads to betrayal, which leads to guilt, & then tragedy.
The film's strength is its viewpoint from the innocent Bruno. He's a child. All he knows are these "facts": his father is a great man who's doing something monumental for their country, Germany ... false. The concentration camp is a farm ... false. The farmers are bad people, but they live in good conditions ... false. The numbers on the striped pajamas are part of a game ... false. Additionally, he does not understand why the smoke from the smokestacks smells so bad. He just doesn't grasp the horror. Shockingly, it takes Bruno's mom a while to realize how close she is to the horrors, as well. But then, that's part of the point the movie is trying to make. While Germans are neverendingly vilified (as most of them should be); a good share were unaware of the atrocities around them, too.
The climax of the film is melodrama at its best (or worst). Something devastatingly sad occurs. And yet, I wasn't shaken to the core or moved to tears. It's not that the acting was bad; far from it. It's not that I'm numb after having seen SO many Holocaust movies over the years. And it's not that this was a poorly made film; it's fairly thought-provoking. The direction, production values, musical score ... all excellent. But there's a definite muted, restrained quality to the proceedings that left me a touch cold in the end. Sanitized. One could argue "Well good. That means it's not gooey or sentimental". But that's not it. I think there are 4 or so things at work here to lessen The Boy in the Striped Pajama's effect ...
1) All the Germans are played by British actors, sans Vera Farmiga, an American. I've seen many movies where this occurs, but this one irked me for some reason. 2) The impact of the climax relies upon specifics of the fictional plot, & not the inherent ugliness of the Holocaust. 3) Way too many coincidences & implausibilities lead to the conclusion. i.e., HOW could Bruno's mother not know where he was week after week, month after month, for hours & hours at a time? Her not knowing this is part & parcel to the actual unfolding of the climax. And 4) Good acting does not make automatically-good characterizations. Nearly everyone is archetypical; it deadens the effect in the end. Still, I can't say I disliked it. I'm just finding it hard to compliment as a necessary story to tell.
The plot begins once Bruno & his family relocate from wartime Berlin (and their fabulous house) to the quieter countryside. His father (David Thewlis) is given command over the Auschwitz death camp. Along with Bruno is his 12 yr. old sister, Gretel, their maid, Maria, and of course, his mother (Vera Farmiga). Like Bruno, she's not wild about the move either, & she's just as naive as Bruno is about 'certain' wartime affairs. Their new house is a large, compound-like building; warm enough on the inside, but cold from the outside (high walls & barbed fencing make up the soldier-patrolled perimeter). Lonely, Bruno begins exploring his large backyard (against everyone's wishes). And after getting through some woods, discovers an electrified fence. On the other side is Shmuel (Jack Scanlon). He is the boy in the striped pajamas. Though they come from different backgrounds, they develop a deep bond. Bruno is bored & wants a friend. Shmuel is a prisoner who sits by the fence; waiting for friendship ... and maybe some food (from Bruno). The talk, play ball, play chess, & slowly start to make sense of who they are & why they're there. With time, naivete leads to confusion (on Bruno's part), which leads to betrayal, which leads to guilt, & then tragedy.
The film's strength is its viewpoint from the innocent Bruno. He's a child. All he knows are these "facts": his father is a great man who's doing something monumental for their country, Germany ... false. The concentration camp is a farm ... false. The farmers are bad people, but they live in good conditions ... false. The numbers on the striped pajamas are part of a game ... false. Additionally, he does not understand why the smoke from the smokestacks smells so bad. He just doesn't grasp the horror. Shockingly, it takes Bruno's mom a while to realize how close she is to the horrors, as well. But then, that's part of the point the movie is trying to make. While Germans are neverendingly vilified (as most of them should be); a good share were unaware of the atrocities around them, too.
The climax of the film is melodrama at its best (or worst). Something devastatingly sad occurs. And yet, I wasn't shaken to the core or moved to tears. It's not that the acting was bad; far from it. It's not that I'm numb after having seen SO many Holocaust movies over the years. And it's not that this was a poorly made film; it's fairly thought-provoking. The direction, production values, musical score ... all excellent. But there's a definite muted, restrained quality to the proceedings that left me a touch cold in the end. Sanitized. One could argue "Well good. That means it's not gooey or sentimental". But that's not it. I think there are 4 or so things at work here to lessen The Boy in the Striped Pajama's effect ...
1) All the Germans are played by British actors, sans Vera Farmiga, an American. I've seen many movies where this occurs, but this one irked me for some reason. 2) The impact of the climax relies upon specifics of the fictional plot, & not the inherent ugliness of the Holocaust. 3) Way too many coincidences & implausibilities lead to the conclusion. i.e., HOW could Bruno's mother not know where he was week after week, month after month, for hours & hours at a time? Her not knowing this is part & parcel to the actual unfolding of the climax. And 4) Good acting does not make automatically-good characterizations. Nearly everyone is archetypical; it deadens the effect in the end. Still, I can't say I disliked it. I'm just finding it hard to compliment as a necessary story to tell.