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Review: Kindness is the takeaway in the Holocaust-era-set ‘White Bird: A Wonder Story’

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Review: Kindness is the takeaway in the Holocaust-era-set 'White Bird: A Wonder Story'

As a child who grew up during the tumultuous era of World War II and its aftermath, I find myself deeply moved by stories that delve into the complexities of human nature amidst adversity, particularly those set against the backdrop of the Holocaust. The latest film in the “Wonder” franchise, “White Bird: A Wonder Story,” is no exception.

2017 saw the movie “Wonder,” produced by Lionsgate, unexpectedly succeed both critically and financially. Based on R.J. Palacio’s children’s book, the film featured Jacob Tremblay as Auggie, a boy with Treacher Collins syndrome who uses his experiences to educate his family and friends about kindness. Supporting roles were played by Julia Roberts (as his mother) and Owen Wilson (as his father). Given its success, it was only natural that a follow-up film, derived from one of Palacio’s “Wonder” spinoff books, was promptly given the go-ahead by the studio.

Seven years have passed since the release of “Wonder,” and at last, its much-anticipated sequel, “White Bird: A Wonder Story,” is arriving in cinemas. Delays due to both pandemic and strikes have hampered its progress, but now it’s here. Directed by Marc Forster and penned by Mark Bomback, “White Bird” only slightly ties into the initial movie, yet it offers a broader, more historically-focused perspective on the same message about how even small acts of kindness can carry great significance.

In another phrase: Bryce Gheisar reappears as Julian, the tormentor of Auggie in “Wonder,” who was expelled from his old school due to his unkindness. Now, he’s the fresh face at a new school, trying to find acceptance. However, Julian gets a chance to start anew, which is emphasized by an unexpected visit and guidance from his grandmother Sara (Helen Mirren), that significantly alters his viewpoint on navigating life.

In actuality, “White Bird” isn’t primarily about Julian; rather, he serves as a narrative device and a weak connection to the world of “Wonder.” The real tale of “White Bird” revolves around Sara, her account of her childhood in France under Nazi occupation, and the harrowing ordeals she endured as a young Jewish girl during that time.

If you’ve had experience with teenage-centered Holocaust narratives like films or books, “White Bird” will resonate with that familiarity. It shares a similar narrative structure with actual accounts such as Anne Frank’s diary. The story revolves around teenager Sara (portrayed by Ariella Glaser), who lives a contented life with her professor father and doctor mother (Ishai Golen) in a peaceful French village. Sara is smitten with the dashing Vincent (Jem Matthews), but she and her friends disregard the quiet Julien (Orlando Schwerdt), who has polio and is thus disabled. Shielded from the grim realities of occupation, their lives are affected when Jewish freedom restrictions start to impact their town. Despite their attempts to flee, Sara’s family finds themselves unable to outmaneuver the Nazi raids.

Sara finds a way to flee into the snow-covered forest, while Julien guides her secretly through the school’s underground sewers. He brings her to his family’s barn, where they hide her away. This is the home of Gillian Anderson, Jo Stone-Fewings, and their son, Julien. Sara will remain concealed here until the oppressive forces of fascism that have infiltrated her neighborhood are confronted. The narrative, however, focuses not on the political struggle but rather on the bond Sara develops with Julien, as well as the experiences that teach her to assess character based on shared humanity and courage, rather than social standing or power.

The power of “White Bird” is rooted in its performers, particularly Glaser and Schwerdt, who give intricate, subtle portrayals of adolescents grappling with horrific global events on a personal level, all while struggling to find connections as teenagers. Their performances are superb, and they manage to keep the film emotionally relatable.

In a slightly softened portrayal suitable for younger viewers, Forster depicts the Holocaust with a solemn yet palatable tone. The backdrop remains idyllic and bordering on fantastical, hinting at a magical tale. As remembered by Sara, it carries an ethereal glow, sometimes appearing excessively beautiful. Digital blooms grace the screen, while a vibrant red coat contrasts starkly against a snowy landscape. This artistic decision, reminiscent of another critically acclaimed Holocaust film, underscores the narrative aspect of the movie, reflecting how memories can become more vivid and enchanting over time, even after many years have passed.

The novel “White Bird” carries a consistent yet vital message, intertwining themes from “Wonder Story” and Holocaust narratives: Empathy is crucial, particularly in action, and frequently, showing compassion for others may necessitate risking oneself, yet it’s something we should never hesitate to do. In the grand scheme of human life, everyone is interconnected. Though this message might seem familiar, its relevance persists.

Katie Walsh is a Tribune News Service film critic.

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2024-10-04 23:31

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