Reviewed by MARTIN ZEILIG “If the past has been an obstacle and a burden, knowledge of the past is the safest and the surest emancipation.” - Lord Acton Aftermath is a 2012 Polish film written and directed by Wadysaw Pasikowski. A search on Wikipedia finds that this fic- tional Holocaust-related thriller and drama was inspired by the July, 1941 Jedwabne pogrom in northeast Poland in which the Jewish community of Jedwabne was mur- dered by their Polish neighbors with the complicity of Nazi German officials. At least 340 Polish Jews, of all ages, were massacred in that pogrom. They were burned in a barn house in the presence of Nazi German troops. Aftermath has won a few awards, including the Yad Vashem Chairman’s Award at the Jerusalem Film Festival in 2013, Jan Karski Eagle Award in 2013, and Winner–Critics Prize, Gdynia Film Festival 2012. It won two Polish Film Awards, Best Actor–Maciej Stuhr and Best Production Design–Allan Starski in 2013. When brothers Jozek and Franek discover a secret, they are forced to revise their perception of their father, their entire fam- ily, their neighbours and the history of their nation. Franek, the older brother, returns home to Poland after living for many years in Chicago and discovers that his younger brother is being mys- teriously threatened and shunned by local townspeople. What follows is, as one earlier reviewer wrote, “a gothic tale of intrigue” as the brothers are drawn into investigating the village’s dark secrets. This is a powerful, evocative and disturbing movie. It rein- forces the trenchant observation by the famed U.S. travel writer William Least Moon’s that historical awareness “is a kind of res- urrection.” Portugese Consul helped save 30,000 Jews during WWII Disobedience: The Sousa Mendes Story Reviewed by BERNIE BELLAN One of the films that was shown at a previous Jewish film festival told the stories of seven different non-Jews who risked their own lives and reputa- tions’ to save Jews during World War II. The thought comes to mind when one hears of those brave individuals: “If they could do it, why couldn’t others have done the same?” Yet, no one else who worked to save Jewish lives did so on the scale of Aristides de Sousa Mendes, who was the Portugese consul in Bordeaux, France at the start of the Second World War. This French film tells the story how de Sousa Mendes gradually went from performing a small series of good deeds, issuing transit visas to Jews that allowed them to enter Portugal after Germany had invaded Poland, but prior to Germany’s inva- sion of France itself. Subsequent to Germany’s invasion of France, however, de Sousa Mendes took it upon himself to turn his consulate into an assembly line, issu- ing visa after visa to any Jewish refugee who showed up at his door. There were several indi- viduals who played vital roles in what was clear- ly an act of civil disobedience on de Sousa’s part, as it is explained in the movie. Portugal remained neutral throughout the war, but its government under its prime minister, Antonio Salazar, had issued something known as “Circular 14” that spelled out those individuals to whom visas were not to be issued, including Jews. Frankly, as much as this film does provide a very interesting pro- file of de Sousa Mendes, in many ways I wish that it had been more documentary than feature film. Although the act- ing is first rate, it was only after reading more about de Sousa Mendes that I was able to understand the context in which his actions took place. Also, I was left wondering about such things as what happened to the refugees who were granted visas once they left Bordeaux, and how did those refugees who ended up in Bordeaux arrive there in the first place? So much of the film is taken up with scenes of de Souda Mendes stamping passports with visas and then signing them that not enough time is devoted to explaining many other details of his life – such as his deeply held Catholicism and apparently the motivation to do what he did as a result of a dream. The implication left with the viewer, however, is that if one man could take it upon himself personally to intervene in an effort to save what culminated in the saving of 30,000 Jews, could there not have been so many others in similar positions who could have done the same? Wednesday, May 14, 2014, THE JEWISH POST & NEWS 1 Jewish Film Festival previews PRESCRIPTIONS FREE Prescription Delivery – We Go Anywhere! Brendan Ball, Pharmacist Joe Piotrowski, Pharmacist TAYLOR PHARMACY 78 F th A Gi li Hours of Operation Monday to Saturday 9:00 am to 6:00 pm We also carry a wide range of health, beauty and household products. Check out our Digital Photo Centre. 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Transcript
Reviewed by MARTIN ZEILIG“If the past has been an obstacle and a
burden, knowledge of the past is the safestand the surest emancipation.” - Lord Acton
Aftermath is a 2012 Polish film writtenand directed by Wadysaw Pasikowski.
A search on Wikipedia finds that this fic-tional Holocaust-related thriller and dramawas inspired by the July, 1941 Jedwabnepogrom in northeast Poland in which theJewish community of Jedwabne was mur-dered by their Polish neighbors with thecomplicity of Nazi German officials.
At least 340 Polish Jews, of all ages, were massacred in thatpogrom. They were burned in a barn house in the presence ofNazi German troops.
Aftermath has won a few awards, including the Yad VashemChairman’s Award at the Jerusalem Film Festival in 2013, JanKarski Eagle Award in 2013, and Winner–Critics Prize, GdyniaFilm Festival 2012. It won two Polish Film Awards, BestActor–Maciej Stuhr and Best Production Design–Allan Starski in2013.
When brothers Jozek and Franek discover a secret, they areforced to revise their perception of their father, their entire fam-ily, their neighbours and the history of their nation. Franek, theolder brother, returns home to Poland after living for many yearsin Chicago and discovers that his younger brother is being mys-teriously threatened and shunned by local townspeople. Whatfollows is, as one earlier reviewer wrote, “a gothic tale ofintrigue” as the brothers are drawn into investigating the village’sdark secrets.
This is a powerful, evocative and disturbing movie. It rein-forces the trenchant observation by the famed U.S. travel writerWilliam Least Moon’s that historical awareness “is a kind of res-urrection.”
Portugese Consul helped save 30,000 Jews during WWII
Disobedience: The Sousa Mendes StoryReviewed byBERNIE BELLAN
One of the filmsthat was shown ata previous Jewishfilm festival toldthe stories ofseven differentnon-Jews whorisked their ownlives and reputa-tions’ to saveJews during World War II. The thought comes tomind when one hears of those brave individuals:“If they could do it, why couldn’t others havedone the same?”
Yet, no one else who worked to save Jewish livesdid so on the scale of Aristides de Sousa Mendes,who was the Portugese consul in Bordeaux,France at the start of the Second World War.
This French film tells the story how de SousaMendes gradually went from performing a smallseries of good deeds, issuing transit visas to Jewsthat allowed them to enter Portugal after Germanyhad invaded Poland, but prior to Germany’s inva-sion of France itself.
Subsequent to Germany’s invasion of France,however, de Sousa Mendes took it upon himselfto turn his consulate into an assembly line, issu-ing visa after visa to any Jewish refugee whoshowed up at his door. There were several indi-viduals who played vital roles in what was clear-ly an act of civil disobedience on de Sousa’s part,as it is explained in the movie. Portugal remainedneutral throughout the war, but its governmentunder its prime minister, Antonio Salazar, hadissued something known as “Circular 14” thatspelled out those individuals to whom visas werenot to be issued, including Jews.
Frankly, as muchas this film doesprovide a veryinteresting pro-file of de SousaMendes, in manyways I wish thatit had been mored o c u m e n t a r ythan feature film.Although the act-
ing is first rate, it was only after readingmore about de Sousa Mendes that I wasable to understand the context in whichhis actions took place. Also, I was leftwondering about such things as whathappened to the refugees who weregranted visas once they left Bordeaux,and how did those refugees who endedup in Bordeaux arrive there in the firstplace?
So much of the film is taken up withscenes of de Souda Mendes stampingpassports with visas and then signingthem that not enough time is devoted toexplaining many other details of his life –such as his deeply held Catholicism andapparently the motivation to do what hedid as a result of a dream.
The implication left with the viewer,however, is that if one man could take itupon himself personally to intervene inan effort to save what culminated in thesaving of 30,000 Jews, could there nothave been so many others in similarpositions who could have done thesame?
Wednesday, May 14, 2014, THE JEWISH POST & NEWS 1
Jewish Film Festival previews
PRESCRIPTIONS FREE Prescription Delivery – We Go Anywhere!
Brendan Ball, Pharmacist
Joe Piotrowski, Pharmacist
TAYLOR
PHARMACY 78 F th A Gi li
Hours of Operation
Monday to Saturday
9:00 am to 6:00 pm
We also carry a wide range of
health, beauty and household
products. Check out our
Digital Photo Centre.
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• HOMES • COTTAGES • ADDITIONS• RENOVATIONS • WINDOWS + DOORS
• ROOFING • SIDING • DECKS • FOUNDATIONS
Gimli (204) 642-8488 or Wpg. Direct: 757-2242
DESIGN SERVICE AVAILABLEDave LaRocque or Cliff SveinsonCall:
Jewish contributions to musical theatrerichly documented in
“Broadway Musicals: A Jewish Legacy”Reviewed by MARTIN ZEILIG
“Before the Broadway musical estab-lished its home near Times Square early inthe 20th Century, there was a lively theatrethat thrived downtown in the lower EastSide where Yiddishkeit, meaning all thingsJewish, predominated,” explains the narra-tor, actor Joel Grey (most famous for theBroadway and movie versions of Cabaret),as scenes of early 20th Century New Yorkroll across the screen in BroadwayMusicals: A Jewish Legacy – a tightly edit-ed, enlightening and very entertaining 90-
minute documentaryby award winningd i r e c t o r/ p r o d u c e r / w r i t e rMichael Kantor, thecreator of the land-mark six-part PBS doc-umentary, Broadway:The AmericanMusical.
It was on Broadwaythat Russian immi-grants like BorisTomashefsky and hiswife, Bessie, pio-neered a kind of musi-cal theatre whichspoke to the multitudeof greenhorns fresh offthe boat – the Yiddishtheatre.
“There is a hugeconnection betweenBroadway and theAmerican Yiddish the-atre,” says MichaelTilson Thomas, MusicDirector of the SanFrancisco Symphony,whose grandparentswere Boris and BessieThomashefsky, duringan interview.
“People don’t getthat anymore: Howpowerful Yiddishkeitwas in the foundationof Broadway. Thedirection ofYiddishkeit wastwofold, to amuseand to instruct.”
Featuring interviewsand conversations withsome of the greatestcomposers and writersof the Broadway stage,the film showcases thework of some ofAmerica’s pre-eminentcreators of musical the-atre including IrvingBerlin, Jerome Kern,
George and IraGershwin, Lorenz Hart,Richard Rod-gers,Oscar Ham-merstein II,Kurt Weill, SheldonHarnick, Jerry Bock,Leonard Bernstein,Stephen Sondheim,Stephen Schwartz, JuleStyne and many others.
2 THE JEWISH POST & NEWS, Wednesday, May 14, 2014
Jewish Film Festival previews
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“Run Boy Run” as much an adventuremovie as a Holocaust story
Reviewd by MARTIN ZEILIG
A German-French copro-duction with mostly Polishactors, “Run, Boy, Run” isthe true story of 10-year-old Yoram Israel Friedman,who escaped the Warsawghetto in 1943 and – hunt-ed by the Nazis – hid inthe woods near the city. The boy ate snails and mushrooms, bravedwinter snow storms and hid in water to avoid vicious Nazi trackingdogs. On one occasion, he also linked up with other Jewish childrenhiding in the forest.
Polish actors Kamil and Andrzej Tkacs, who are identical twins ,take turns playing Fridman in this inspiring movie of survival againstincredible odds by German director Pepe Danquart.
Friedman occasionally receives help from farmers, particularlyfrom Magda – the wife and mother of Polish partisans – but he alsofaces a lack of sympathy, loathing and treachery. Posing as aCatholic Pole, assuming the name Jurek Staniak, helps him to findlodgings in exchange for work on farms.
After his right hand is badly hurt in an accident, a surgeon refusesto operate after discovering that the boy is Jewish.
Another surgeon treats him, but too late to save the arm fromamputation.
“It’s not really a Holocaust movie. It’s more the adventure of a kidin the middle of the Holocaust,” Danquart said in an interview withreporter Monika Scislowska (“Movie on boy’s Holocaust fate pre-mieres in Poland”, Associated Press Jan. 8, 2014)
Despite its intense story, the movie is a pleasure to watch – due,in large measure, to the splendour of nature in it and our amaze-ment at the innocence, bravery and quick thinking (and outrightluck too) of the central character, despite his ordeal.
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What if two babies – one Jewish, one Palestinian,were switched at birth?
Reviewed by BERNIE BELLAN
While the theme of “switched atbirth” is one that has been exploredmany times in books and movies overthe years, I doubt that anyone watch-ing “The Other Son” cannot help butbe profoundly moved by the questionsit raises.
The story is a simple one: Two fami-lies, one Israeli, one Palestinian, areinformed that their babies were inad-vertently switched during the first GulfWar, in 1991. Joseph is brought up asa typical young Israeli, in a middleclass family where his father, ironical-ly, is a colonel in the Israeli army, andwho would love nothing more than tosee his son join an elite unit upon hisinduction into the army.
His counterpart, Yacine (who isdrop-dead gorgeous by the way), hasgrown up with a Palestinianfamily and has gone to live inFrance where he has excelledas a student, and who is aboutto enter medical school there.He comes home for a visitwhen he is told the news ofwho his real parents are.
As the story develops theinevitable discovery of whathappened and the coming toterms with its consequencesis powerfully moving. Thereis, of course, the inevitableshock and disbelief, eventual-ly transforming into an accep-tance – and understanding ofwhat true empathy involves.
The movie doesn’t carry animplicit political message -aside from the notion thatdeep-seated hostility betweentwo peoples could be setaside if only the two sideswould take the time to get toknow one another. As well, allthe actors in this film areincredibly convincing, espe-cially the young ones. The dia-logue switches at various timesfrom Hebrew to Arabic toFrench and to English, and theease with which the charactersmove back and forth lends aneven further air of credibility tothe movie.
Finally, if there is one movieat this year’s film festival thatwould be sure to resonate witha teen-aged audience, “TheOther Son” is it. By the way, thefilm is available for sale oniTunes and Amazon, in case it’ssold out at the festival – whichI’m sure it will be.
“Wunderkinder” employs talented childactors but has flaws
Reviewed by BERNIE BELLAN
Any movie that has an opening scene with an older personwho is about to go back in time totell a story invariably reduces thesuspense of the impending story.
Now, while any film that has aHolocaust-centred theme is boundto deal with death, knowing at thestart that certain characters are goingto survive the Holocaust makes youwonder, as you’re watching themovie: “I wonder how - and why, acertain character or characters, aregoing to survive?”
“Wunderkinder” though, is allabout musical prodigies – in thiscase two Ukrainian Jewish childrenand one German Christian child, allof whom are gifted musicians. TheGerman girl develops a keen admi-ration for the two Jewish childrenwhen she hears them play at a con-cert and is determined to befriendthem – which she does successfully.
The music is certainly beautifulystaged – and the actors playing thechildren apparently are real musi-cians, so they certainly lend an air ofcredibility to their playing, whichtakes up a good portion of the film.
Set in 1941, the story begins inwhat was then Soviet-occupiedUkraine, soon to be followed by theNazi German invasion. But, since allthe dialogue is in German (It’s aGerman-made movie.), even thoughthe subtitles are clear, it’s often diffi-cult to figure out who certain char-acters are. One of the most villain-ous characters is a Russian army offi-
cer, for instance. Or is heUkrainian? I don’t know –and it doesn’t make anyreal difference to subse-quent events, but later,when Jewish children arebeing tormented byGerman-speaking guards,it would have been helpfulto know whether thosewere Ukrainians or, in thecase of one of the guards, aJewish “kapo”.
It would have been moreauthentic, although per-haps confusing, had eachcharacter spoken in his orher native tongue, ratherthan having them all speakGerman.
Nonetheless, it’s a verymoving story – even if it ismore than a tad far-fetched. It might particular-ly appeal to a youngeraudience, since it dealswith the horrors of the
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