THE BOOK THIEF at the GFT

Based on the Novel by Markus Zusak this film keeps faith by relating the events from the narrative of Death telling a story from the eyes of a child.

Though i pretend to be macho i have to admit it made me blub more than a few times.



This review rather misses the point , only proving that unperceptive arseholes can get jobs at The Guardian.He fails to understand that a film looking at a horrifying event from the point of view of a child is hardly going to give incisive academic extrapolations of the root causes of Nazism.Apparently he wants an entertaining story of life under the Nazis.Even the Prague Post seems to lose all sense of perception by singling out the sections of the film that are especially faithful to the Book. It takes an Argentinian in the comments sections to put these reviewers straight.

"This review is absolutely embarrasing. First of all, the main character doesn't fall in love with the jewish boy, their relationship is like the one of sibblings. Second, you can't judge a movie which is based in a book. This book wasn't a book about History and how the War had destroyed a lot of places and had killed a thousand people, instead of that, it is based in the story of a little girl and HER vision about that particular time, including the vision of the Death. I repeat, you can't judge this movie if you don't consideer the fact that it is not a documentalryit is not a movie about History. I apologize for my english, I'm from Argentina."

Geoffrey Rush rightly encapsulates the reasons the critics seem to be out of touch from the Audiences who have seen it - It has to be watched on the Big screen as it is a film of nuance and the wonder from the vision of children. including the subtlety of his character , Hans, hairstyle.

"I thought okay, this guy is out of work because he refuses to join the Nazi party, so he becomes a bit of a pariah within his community, that would have up until then been a close-knit community.
I suppose the stereotype of Nazi control was that the hair was always very severe and very shaped, to go with the uniforms. Research proved that to be correct, because the hair and makeup department art directors had hundreds and hundreds of authentic photos of what people in southern German towns looked like in the late '30s.
Of course [Hans and his wife] don’t have money to have a haircut every couple of weeks, so they were quite wild and woolly.
It appealed to me that, given Hans’s slight maverick political viewpoint, his musicianship and his layabout quality, that the hair would be subliminally a statement of mild anarchy."