WWII occurring right outside your window? That’s okay! Get away from it all through reading!
Liesel Meminger (Sophie Nélisse) is just a young girl when her brother dies, and her mother runs-out on her. Sucks, but at least she has two foster parents, Hans and Rosa (Emily Watson and Geoffrey Rush) that are more than willing to take her in, take care of her, look after her and make sure that she follows their rules, as if she was their own child. Hans takes more of a liking to Liesel than Rosa, but that’s only because the latter’s a bit of a meanie and doesn’t take anybody’s crap, but she does mean well. After much time, Liesel eventually gets used to her new surroundings where she gains a new friend, Rudy (Nico Liersch), and actually becomes quite involved with reading and stealing books, all because this was during the Nazi-Germany era, and books were considered “wrong”. And since this was Nazi-Germany, that also means that plenty of Jewish people were usually captured, taken away and put “somewhere” they had no clue of, nor did anybody else around them. This is when Liesel meets the runaway Jew that Liesel’s family is hiding (Ben Schnetzer), whom she actually strikes up a friendship with. But being that this is in and around the time of the war, things weren’t always so smooth and relaxed in Germany, and more often than not, Liesel and her foster-parents run into a bit of problems with the paranoid law.
“Ughz! Like you’re so annoying, blond-haired German boy!”
Oh, and before I forget to not even mention this, the whole story is somewhat narrated by what is supposed to be considered “Death”, but is also voiced by the highly-entertaining Roger Allam. I tell you this because not only is it the most appropriate usage of voice-narration I have ever heard, but it’s also one of the many reasons why this movie isn’t that good. Not meaning that it’s total and utter “Oscar-bait” , and nothing more, but do know that there is a reason why this movie was released around Thanksgiving, is about the WWII, features a lot of talk about the Holocaust and even has a score by John Williams.
I mean, come on people! It’s obvious that this just has every ingredient for the recipe that is “Oscar-bait”! However, it isn’t terrible, and here’s why:
It’s pretty clear what this movie set-out to do right from the beginning: Put a human-face on those who were on the side of the Germans during WWII. We rarely ever see this in movies, but when we do, it’s usually by a German film company, or some low-budget, independent production that wants to get their message out, clear and fair. However, this is a pretty big-budget flick, with some heavy-hitters involved with it, so you can definitely be curious about how director Brian Percival handles this material; and for the most part, he does some good things. But then again though, he also does some very bad things that truly do ruin this movie from being a little bit better in hindsight.
What I liked the most about Percival’s direction is that he definitely gets into the eyes and mind of our protagonist, Liesel. Not only does she not fully see the real, actual horrors that are going on all around her, but she refuses to really accept them for what it is that they really are. That’s why when you see little kids like her, her friend Rudy and countless others, all “heiling Hitler” because it’s what their “parents told them to do”, it’s a bit sad. Yes, it’s a no-brainer that kids are influenced by what it is that they see elders around them do and preach as “being the correct thing to do”, but it’s a bit more disconcerting when those kids in fact are from Germany, and are being influenced by elders that are, from what we usually see, Nazis.
And most of the time when Percival is getting right down to being what his movie is about and painting this little village in the heart of Nazi-Germany as something out of a fairy-tale, as if it all played inside of Liesel’s head, it’s somewhat interesting. It’s still a kids movie that has more for the adults, than it could possibly have for them, however, it’s smart in some of the directions it takes and why. But then comes the bad moments when this movie does in fact realize it’s about a war-torn Nazi-Germany, when everybody was in fear of if they were going to get suspected next of some evil, wrong-doing that would label them as a “Communist”, and have them go away for a long, long time.
Don’t get me wrong, I’m not saying that seeing this so many times in countless other movies makes this seem a bit “boring”, because that’s just wrong, but I will say that it definitely didn’t have me reeling with emotions like those countless other movies have. There’s plenty of ham-handed moments in which the movie tries to make a political-statement; and then at other times, tries to discuss the reality of humanity, and what lengths one will go to ensure it stays the moral; and then, lastly, there’s always that crutch of making this a crowd-pleasing, easy-going movie for the whole family to see, despite it also being around and during one of the more disturbing periods of any country, let alone Germany. I get the fact that it’s a PG-13 movie that’s trying it’s hardest not to offend or fully scare anybody half to death with the images they could have definitely gone so far as showing, but there seemed to be too much sugar-coating here, and less actual “realism” thrown into the proceedings.
“And the cow j-j-j-jumped over the-the-the moon….”
And on top of that, the movie just juggles too much, that by the end, when the whole “gotcha!” ending does happen, you won’t be able to find yourself caring too much. That’s not to discredit the actors in this movie at all either, especially since they are all fine with what they’re given, no matter how small or big. Geoffrey Rush feels fun, full-of-life and vibrant as Hans, the type of guy that wouldn’t quite work-out fully as a daddy, but is a nice enough guy to charm even the blackest of holes; one of those “blackest of holes”, also just so happens to be Emily Watson’s Rosa, who is a bit of a hard-ass, but still heartfelt enough to see that she really does care and support others when they need it the most; and child-actress Sophie Nélisse does a relatively nice job as Liesel, especially considering that a lot of this movie depends on her to have a wide-range in which she has to go from happy and joyful, to absolutely scared, at the drop of a hat. She’s not always good, but she’s a kid, so I’ll give her time where time is due.
Anyway, like I was saying, it’s not all their faults, because they’re all fine and dandy; it’s just that when the movie ends, there doesn’t seem to be much learned, thought-of or even point to the whole proceedings. Yes, I am sure that there were plenty of German citizens that felt awfully terrible during this time of war, but what else is there to that? Not much else, and you’ll probably be wondering if this movie ever really needed to be made, or if made, made with a stronger, more compelling heart at the center of it, cause quite frankly, a family movie isn’t going to fully cut-it when it comes to a story like this. Then again, I didn’t read the book, so what do I know? No seriously, somebody tell me. I need all the help I can get!
Consensus: Some interesting and rather compelling choices were made on the behalf of the Book Thief to give it that extra “oomph” it so clearly needs to be more than just another story about Nazi-Germany, the Holocaust and WWII, all played to the fine tuneage of Mr. John Williams himself.
5 / 10 = Rental!!
Obviously took place before the arrival of the iPad.
Photo’s Credit to: IMDB, Collider, Joblo, ComingSoon.net