2014 Running time: 126 Certificate: 12 Rating: 3

Synopsis

Downton Abbey director Brian Percival brings Australian author Markus Zusak's dark but cherished World War II children's story to the big screen. Sophie Nelisse is the German girl sent to live with new foster parents (Geoffrey Rush and Emily Watson) in a small village... along with the Jewish refugee they're hiding in the basement. As the war rages they all have more than just the bombers to fear as Nazi officials and informants are never far away. A good introduction to WWII in the tradition of The Boy in the Striped Pyjamas.

Director

  • Brian Percival

Cast

  • Sophie Nélisse

  • Geoffrey Rush

  • Emily Watson

  • Ben Schnetzer

  • Heike Makatsch

Review

Chilling the prose of Markus Zusak's The Book Thief is the fact that Death itself narrates the tale of young Liesel (Nelisse), guaranteeing there won't be happy endings all round.

Brian Percival's adaptation retains much of Zusak's hefty source material (including the grim narrator), but the chill is replaced by chocolate box prettiness, making it cousin to those respectable lit adaptations Chocolat, The Cider House Rules, Memoirs of a Geisha and The Reader. And Percival's own episodes of Downton Abbey.

Where the film scores is in the faultless performances of the cast.

Nelisse is perfect as the German Anne of Green Gables, bringing late-in-life joy and worry to her foster parents Hans and Rose Hubermann (Rush and Watson, previously a married couple in The Life and Death of Peter Sellers).

Ben Schnetzer, who crashed off weight for the role, brings a desperate humanity to Max, the Jewish refugee fleeing Kristallnacht and hiding in the Hubermann's basement.

But, the real discovery is Nico Liersch as Rudy, matching Nelisse for charm and mischief as Liesel's Jesse Owens adoring paramour and confidant.

Percival matches moments of wonder (Hans introducing the illiterate Liesel to the joy of reading, a cellar-bound snowball fight) with effectively staged set-pieces (a Nazi book burning, a school song whose words suddenly turn hateful), illustrating how optimism is essential in the most poisonous of surroundings.

Bringing this qualified idealism to crooked-grinned, bittersweet life is Rush's Hans, a man quietly outcast by acquaintances for not joining the Party and whose remorse at an act of quick, but dangerous heroism captures ever-present fear in a fascist state.

Perhaps a tad tidy and light given the subject matter, but an accessible entry point to WW2 for younger viewers and never less than watchable for adults.

Rob Daniel

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