The Book Thief: Movie Review Deconstruction

The following movie review deconstruction has been made possible with the article by Stephen Holden, found at this link: NY Times Movie Review- Holden

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"A Refuge Found in Pages: The Book Thief, World War II Tale With Geoffrey Rush"
 By: Stephen Holden
Published: Nov. 7, 2013
The title is clever. Even knowing little or nothing about the movie, you can make a connection between "Pages" and "Book"



Thoughts on the two minute clip narrated by the director:

• The names "Liesel" and "Hans" stereotypically give away the German background
• Pathos developed for Liesel, as she's a young girl who's lost her brother and is living during the war in a dark situation
• Using variety (war, father-daughter relationship, literature, production notes/effects ... etc.)  in the 2 minute clip, draws different types of viewers to want to continue and read the review..and ultimately enjoy also watching the film.

After watching the clip, a connection or hypothesis might be made about the plot and review. Little girl living during a hard time steals a book, title is "refuge found in pages" ... hmmm.....perhaps she is stealing books to read and escape her problems... ?

Speaking in the honeyed, insinuating tone (good use of descriptive words) of the Wolf cajoling (definition: persuasion through flattery) Little Red Riding Hood (allusion to the classic kid's fairy tale) to do his bidding, the narrator of “The Book Thief”is none other than Death (metaphor underlined) himself, although he coyly (synonym: hesitantly)  refuses to disclose his identity. This irritating know-it-all regularly interrupts the story of Liesel, a bright-eyed girl living with foster parents in a fictional German town during World War II, to comment obliquely on human nature and mortality.  (thesis underlined)

Except for the Nazi flags (reveals war-time setting)  hanging from every building, the town, under a glistening blanket of snow, (good use of imagery and personification) could be the cozy setting for a holiday greeting card. The pieces of the story, which begins in 1938, are so neatly arranged that the movie has the narrative flow and comforting familiarity of a beloved fairy tale.  (This summary type info will draw specific types of viewers/readers -fairytale lovers)

A contradiction between a veneer of innocence and the realities of Nazism and the Holocaust  (thought provoking comparison underlined) is a signature characteristic of “The Book Thief.” Markus Zusak’s immensely popular young-adult novel, from which the movie, directed by Brian Percival (“Downton Abbey”) was adapted, with a screenplay by Michael Petroni (“The Chronicles of Narnia: The Voyage of the Dawn Treader”). (The inclusion of the team members from these other successful and well known productions is smart in a review, to give the reader an idea of the film's style)

The years-spanning film, which observes traumatic historical events through Liesel’s eyes, looks and tastes like a giant sugar cake (simile underlined) whose saccharinity (definition: excessive sweetness) largely camouflages the horrors of the war. Like a caring dentist reassuring a frightened child,  (simile underlines) it purveys a message: “Don’t be afraid. I’ll try not hurt you, although you might feel a little pinch.” (*Important to include the film's message!)

(Specific scene) There’s one scene of Jews wearing yellow stars and being herded (use of word "herded" compares social group to animals, revealing the way they were treated) grimly out of the town. There’s another of Nazi officers searching houses for Jews concealed in cellars. And late in the movie, the town is leveled by bombs. Although the damage is catastrophic, the bodies laid out on the street seem untouched, as if the victims were fast asleep and ready for instant transport to heaven. (Clever use of words)

Liesel’s foster father, Hans Hubermann (Geoffrey Rush), is an impoverished, kindhearted house painter and “good German,” suffering from deprivation because he never joined the Nazi Party. He plays the accordion, and even in the darkest moments, its lilt conveys a spirit of bonhomie. His wife, Rosa (Emily Watson), is a fearful scold when Liesel meets her for the first time. But a soft heart beats under the surface. (Character description, reveals more about character relationships and helps the reader/viewer create more links with the 2 minute clip he/she viewed above. i.e: he is not a mean old German man).

The actors play their characters like storybook figures imagined by a smart, curious child. From character to character, their accents vary from heavily Germanic to British; the language spoken is English seasoned with German exclamations.  (*Include language notes)

Liesel is a little princess whose foster father teaches her to read after her schoolmates taunt her for illiteracy. After witnessing a book-burning rally, she borrows, then steals, volumes from the home of the local burgermeister, (definition: German executive/chairman) whose wife (Barbara Auer) lets her visit her late son’s personal library. Memorizing what she reads, she distracts fearful Germans (insight to the title) huddled in a bomb shelter with her recitations.

Liesel’s best friend and next-door neighbor, Rudy (Nico Liersch), is a towheaded angel (meaning blonde) who idolizes Jesse Owens, the track star of the 1936 Berlin Olympics, and is taunted for painting his face black in imitation. When he is selected by the Nazis for elite military training, he rebels and runs off with Liesel to a secluded location, where they both shout, “I hate Hitler!” (The war's effects on children, demonstrated)

The Hubermanns risk their lives when they shelter Max, the impossibly noble (slight oxymoron) son of a Jewish army buddy who saved Hans’s life during World War I. There are hints of a possible romantic competition between Rudy and the older Max for Liesel, whose portrayal by Ms. Nélisse is appealing but bland.  (Important to include romantic aspect in review, without giving anything away)

I (note the change to first person) can’t imagine that the creators of “The Book Thief” were aware of their movie’s underlying message that it really wasn’t that bad. John Williams’s score — a quieter, more somber echo of his music for “Schindler’s List” — lends the film an unearned patina of solemnity, for “The Book Thief” is a shameless piece of Oscar-seeking Holocaust kitsch.  (Personal opinion-  This reviewer like how the score compliments the film)

“The Book Thief” is rated PG-13 (Parents strongly cautioned) for scenes of violence.

The Book Thief

Opens on Friday in New York and Los Angeles.

Directed by Brian Percival; written by Michael Petroni, based on the novel by Markus Zusak; director of photography, Florian Ballhaus; edited by John Wilson; music by John Williams; production design by Simon Elliott; costumes by Anna B. Sheppard; produced by Karen Rosenfelt and Ken Blancato; released by 20th Century Fox. Running time: 2 hours 5 minutes.  (important to include main production team and film information)

WITH: Geoffrey Rush (Hans Hubermann), Emily Watson (Rosa Hubermann), Sophie Nélisse (Liesel), Ben Schnetzer (Max), Roger Allam (Death), Barbara Auer (Ilsa Hermann) and Nico Liersch (Rudy).  (Important to include who the movie is starring, to attract fans)