Sarah’s Key and the Privilege of Choice

What choice did little Sarah have in a world gone mad?

 
It’s tempting to look at old pictures and imagine the history and stories of the people in them.  It’s a way to reach into the past.  It’s a way to invoke nostalgia.  It’s a way to uncover secrets.  It’s become a growing trend amongst Holocaust scholars to move away from the almost unfathomable statistics and instead focus on the faces…the pictures…the singular stories…the individuals.  Nowhere is this more apparent than in Manhattan’s equally magnificent and somber Museum of Jewish Heritage, where an entire wing is dedicated to the display of thousands of family photographs that give the horrors of war a back story and a face. 
 
At a crucial moment in the new French film, Sarah’s Key, our privileged protagonist comes across the photographs of two small children during the course of an investigation.  Up until that point, she was merely crafting a story – but now there were faces to that story.  It was real.  One can’t help but think this notion weighed heavily on the mind of novelist Tatiana De Rosnay as she penned her shrewd Holocaust tale.  Sarah’s Key is part of the complimentary literary/film movement to this Holocaust scholarship where faces replace stats.  Like Sophie’s Choice, The Boy in the Striped Pajamas and The Reader, Gilles Paquet-Brenner’s film is an adaptation of a novel thick with moral complexities where the audience is asked not “Why did this happen?” but instead “What would you have done?”  In these elaborate historical fictions inspired by decades of staring at old photographs, we are asked to step into the shoes of those who did anything to survive and those whose lives were threatened leading to complicit acts that made them explicit accomplices or blindly apathetic to the crimes against humanity. Continue reading
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You Might Be a Basterd If

If shes a Basterd...sign me up!

If she's a Basterd...sign me up!

A Review of INGLOURIOUS BASTERDS:

I walked into Quentin Tarantino’s Inglourious Basterds expecting non-stop Basterd-style Nazi killing, over the top violence and borderline kitsch.  Sure, there’s some of that, and an anachronistic use of a David Bowie song among other minor albeit forgivable annoyances, but what struck me most was that this was not just a story of Basterd scalping maniacs.  This was also a story of a young Jewish woman named Shosanna (Melanie Laurent) hiding out in Paris under the guise of a cinema operator and her elaborate revenge plot against the bastard SS Colonel Hans Landa (Christoph Waltz) who murdered her family.  This is a story of a ballsy double agent parading as a German movie star (Diane Kruger) who risks everything for an operation to assassinate Hitler.  And most memorably, and cyclically, this is the story of that ruthless SS Colonel Hans Landa and his inevitable comeuppance after he arrogantly and erroneously plays everyone as if he were the smartest man in the room.  In fact, the whole movie hangs on his story arc.  From the moment at the end of the opening prologue where Shosanna barely escapes from his overreaching grasp, we wait…ever so patiently…to see…in that final scene…Hanz receive his comeuppance.  And Tarantino, in his signature chapter-stop style weaves in all of these stories and others and uses the Basterds (essentially as a McGuffin) as the comic relief.

By all measures, this is Tarantino’s best-looking film.  Continue reading