Blu-ray Review: ‘The Book Thief’

Article first published as Blu-ray Review: ‘The Book Thief’ on Blogcritics.

As a fan of the best-selling novel The Book Thief, it was with trepidation that I tackled the film, now out on Blu-ray and DVD.  After all, the book succeeded because of a unique narrator in the form of Death, and there is really no way to re-create that character effectively on screen, as far as I could tell. It is a pleasant surprise, then, to find that by significantly minimizing the role of Death to an unseen voice (Roger Allam, Sarah & Duck), who only rarely is heard from, the movie can still tell a compelling, emotionally satisfying tale with high quality.

As The Book Thief begins, Liesel Meminger (Sophie Nelisse, The Family Parent), age twelve, is being given up by her mother. Before she can make it to her new home, Liesel loses her little brother, and thus begins her dance with Death. Settled into the home of the kind Hans Hubermann (Geoffrey Rush, The King’s Speech) and his shrewdish wife, Rosa (Emily Watson, War Horse), Liesel begins a tenuous new existence in Germany as World War II erupts around her. At first, the movie seems a little light, as if it has sanitized the horrible, tragic events of the great conflict. But the tale beautifully unfolds, cloaked in near-perfect sets and costumes, one begins to see the perspective represented.

Liesel is not a naive girl, but she is still a girl, and through her eyes, even after losing so much, we see the ‘normal’ life she attempts to carve out for herself. Taught to read by Hans and befriended by loyal classmate Rudy Steiner (Nico Liersch), Liesel begins to feel like she has a place again, experiencing the things a young girl should. By the time the Liesel notices war arriving at the Hubermann’s door, it’s surely too late to do anything about it. Even after the Hubermanns take in Max Vandenburg (Ben Schnetzer, Happy Town), a young, Jewish man on the run, things go along more pleasantly than one might expect. But then, Jews are rounded up, and those suspected of being Communists are also despised. Rudy’s efforts to cake himself in mud so he looks more like his idol, Jesse Owens, are firmly rebuked.

This isn’t a safe world, and while the adults do a pretty decent job for a while of protecting the children from the truth, some things are beyond their control. It’s from this point of view that The Book Thief sets itself apart from other works based in this time and place. Liesel may be a member of the nation that causes much havoc in the world, but she and those she comes to care about are not to blame. She has the innocence and adaptability of youth, but can one continue to survive when so much is ripped away? Liesel suffers many losses before the ending credits roll, and her story is not one soon forgotten as it wraps up in a bittersweet finale. There is an almost tangible charm, and for some reason, The Book Thief feels like a completely fresh take, not something I really expected from this work. It’s family-friendly enough, but not at the expense of authenticity.

The acting in The Book Thief is excellent. Nelisse is surprisingly good for someone her age, even as she isn’t quite believable in having aged five pivotal years over the course of the plot. Rush is exactly what one would expect, a formidable talent tackling a wonderful role. But the highest praise goes to Watson for walking the tight balance of a woman who comes across as so unlikable from the start, but who is worthy of Hans’ love, and whose public face is a cover for a warm heart and the fears she struggles with.

This release contains a 30-minute “Behind the Scenes” piece that gives a few insights into casting, set development, and the adaptation process, but never gets as in depth as many might like it to, especially when interviewing the child actors, who tend to give perfunctory responses. There are also deleted scenes and a theatrical trailer, as well as a couple of audio commentaries, so while not a stellar amount of extras, there is some benefit to having the disc versus catching it later on television.

I do think there are definitely sound reasons to view The Book Thief in high definition. Many of the colors are washed out in this bleak, yet somehow still homey, neighborhood. There are also a number of moments in the dank-ish basement. To experience the color, texture, and details of these sequences, one will want the best available picture quality. The signature John Williams soundtrack is well mixed with the dialogue and effects, so overall, there’s a really good package here for those who go for HD, even though this isn’t a digital- or war-heavy production.

The Book Thief is available now.

HBO's Parade's End

First published as PARADE'S END Review on Seat42F.

Grade: 91%

HBO will take its turn presenting the miniseries PARADE’S END this week, its partner in the endeavor, the BBC, having already broadcast it last fall. Perhaps HBO saved it so it would have a rich period piece this winter, just as it had Mildred Pierce last year, or perhaps they wish to attract those in the early stages of Downton Abbey-withdrawal. Whatever the reason, now seems an opportune time to air it.

The title PARADE’S END refers to the excising of the British upper-class way of life, the manner in which the elite of society put on certain airs, stay true to traditions, and worry about the way they are perceived. There is a strict social structure in place in the early twentieth century, mostly destroyed during World War I, and this miniseries tells that tale.

Well, it tells a personal take on characters who make that transition. Yes, the piece is somewhat sweeping, and does have a large-ish cast. But there are really three main players in the story who stand about above everyone else, and who are the case study made an example of here.

Benedict Cumberbatch (Sherlock, Star Trek Into Darkness) plays Christopher Tietjens, a noble Englishman who sticks with the way he is brought up, no matter what. This means he goes through with his marriage to the wicked, manipulative Sylvia (Rebecca Hall, The Town, Frost/Nixon), even though he knows she’s been sleeping around on him, and it’s very likely her pregnancy isn’t a result of his actions.

Their union is predictable unhappy, and Sylvia doesn’t even try to stay faithful, spending much time apart from her groom in the company of other men. Christopher, though, keeps up appearances, even as he begins falling for the sweet, strong-willed Valentine Wannop (Adelaide Clemens, Rectify, Vampire).

Looked at through the modern eye, it’s very hard to understand why Christopher doesn’t just leave Sylvia for Valentine, a topic discussed in the series. Why should he show any loyalty to someone who is so nasty to him? But that’s Christopher’s way of life, so I’m not sure it even occurs to him to end his own suffering, at least not for awhile. Part of the beauty of the piece is the illustration of the type of man Christopher represents, a specific guy from a specific period in time in a specific place.

In fact, PARADE’S END succeeds very well artistically. The sets and costumes are made expertly, and the details that set an authentic tone are present. The writing is smart, and the characters are well defined. Presenting World War I as a catalyst is a good idea, executed with much success.

The cast is fantastic, of course, especially the three leads. For those who are familiar with Cumberbatch’s work, this should come as no surprise. The girls’ talent matches hiw, but this is Cumberbatch’s showcase, and he owns every moment he is on screen, conveying much in his sad eyes.

The supporting players also lend both a fuller picture, and some levity to the proceedings. They include Roger Allam (The Thick Of It, The Queen), Rupert Everett (My Best Friend’s Wedding), Miranda Richardson (Rubicon), Janet McTeer (Damages), Clare Higgins (Homefront), Stephen Graham (Boardwalk Empire), and Rufus Sewell (The Pillars of the Earth), each of whom adds a positive element.

My problem with it is that it’s slow and a bit boring. Like Mildred Pierce, it meanders for quite awhile, and there isn’t a lot of movement. Does it really take five hours for a trio to work out their romantic arrangements? Especially when we, the viewer, know right away the decision that Christopher should make. His struggle is interesting, to be sure, but the running time will likely drive some potential watchers away.

PARADE’S END is strongly British, and not completely accessible. One must pay attention to follow the story, and it isn’t very light-hearted. I enjoyed what I’ve watched of it (I haven’t finished it yet), but it’s a miniseries I’d have to be in a certain mood to really appreciate, for sure.

PARADE’S END airs this Tuesday, Wednesday, and Thursday on HBO.