This kind of heartfelt, moralizing story-telling is hard to pull off and Dembo sometimes tends to get heavy-handed, for example with a long tracking shot of mournful children looking though the train window as they arrive at the station prior to going to the home. Then, rather like Louis Malle’s Au Revoir Les Enfants (1987), the film has a too glossy look that ill fits the subject matter and removes it from a sense of real immediacy. Thus, when the well-fed Buchenwald survivors arrive, their panicky, herd-like behaviour feels incongruous. The film is largely illustrative of the director’s purpose (Dembo based it on the experiences of the real-life Nina), rather than any internal dramatic dynamic although that purpose undoubtedly has merit.
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Available from: Madman