Le miroir aux alouettes

The last half hour of this film may well be the most emotionally intense examination of a personal moral crisis ever put on film.

The movie achieves that rarest feat of being able to portray one of the most horrendous experiences in human history without resorting to sensationalism or sentimentality.

The acting of Josef Kroner and Ida Kaminska is without peer and the musical score is quite simply haunting and adds immeasureably to the film's overall effectiveness.

Make every effort to see this true cinematic masterpiece.

This is one of the most elegantly crafted and powerful movies relating to the Holocaust that I have ever seen.

As the editor and publisher of the memoir of a Jewish Holocaust survivor from Slovakia, I can aver that this movie is achingly true to life. The film's setting could be this woman's hometown. Like Mrs. Lautmann in the movie, this woman had lived behind one of the family's shops on her hometown's Main Street and her family's properties were seized during the Aryanization depicted in this movie.

How the writer, director, and actors of this seemingly small film were able to condense and convey so much of the socio-economic and political tenor of that time and place, with such acumen, dark humor, and pathos is astounding.

It seamlessly moves toward an inexorable conclusion, with each successive scene leading the viewer deeper into the world of the two protagonists and reeling from the truths that the filmmakers expertly offer up.

It is days after viewing it, and still, I cannot shake this movie.

This movie is one of my all-time favorites. It depicts a lazy, self-interested "everyman" caught up in a personal struggle of good and evil. The directors/writers question the moral responsibility of genocide, as smalltown Czechs under Nazi domination respond to their Jewish neighbors. Jews are no longer allowed to own shops, so their businesses' control and ultimate ownership is turned over to Christians -- namely, Nazi sympathizers. One such Christian, brother-in-law of a high-ranking official, is given a button shop, owned by a deaf, elderly Jewish woman, who is not even aware that there is a war going on. Due to her deafness, she has the innocence of a child. The Christian overseer finds that the shop makes no money whatsover, but also learns that the Jewish community supports the old woman and will pay him a salary to watch over her. What develops is a platonic love story between the two, hilariously funny due to the old woman's inability to comprehend the impending doom around her, and her assistant's struggle to shield her from harm while concerned with self-preservation. The movie works on numerous levels -- as a love story, including dreamlike fantasy elements of a bygone world where Nazi horrors don't exist; and as a tale of ultimate moral responsibility. It is a story of basically good people, who say nothing, see nothing, hear nothing, and do nothing when genocide threatens their neighbors, and who thus enable genocide to occur. The brilliant combination of hysterically funny scenes set against a background of impending mass murder brings this film to a life that is lacking in most humorless holocaust-oriented films. The laughter through tears produces an ultimate impact that is emotionally devastating. This film justly received an Oscar for Best Foreign Film when it was released. It was produced during a brief high point of the Czech film industry, prior to Russia's reconquering of the country and squelching any artistic freedom. All the performers are exceptional, particularly the two leads. (After the Russian takeover, actress Ida Kaminski emigrated to New York and attempted to revive the Yiddish Theatre.)

This film is one of the most gripping stories told about Nazi occupied Europe. A small town in 1942 Czechoslovakia feels the changing regime envelop the people, pinning friends against one another, and turning even the most pacifistic men into traitors. Small-time carpenter Tony is married to an attractive, but constantly nagging and complaining, materialistic woman. Seeing her in-laws successful, while exploiting the political advantages of working with the Nazis, makes Tony's wife ever more determined to have a "piece of the fortune" the Jews are said to have been hording. Although refusing to work at a "tower of Babel" the Nazis are erecting as a symbol of their glory (and doing without the money he could have earned), Tony doesn't speak out against the "new order" either.

When Tony finds himself as assistant to an old lady at her failing notions shop (which he "legally" was entitled to take over), he learns about the Jewish community, how everyone looked out for one another, and how these people were no different from other folk in town, if anything they were more human than the rest. Still afraid of retribution from the Nazis and their sympathisers, Tony is in a no-win-situation.

The final scene of this 1966 Best Foreign Film Oscar Winner was likely an inspiration for the final scene in the 1997 Blockbuster "Titanic". This cinematic gem serves as a reminder to the old German saying "Leben und leben lassen" (live and let live). A classic indeed!

I'll skip over the story and the themes. Other commenters have said wonderful things about that.

Let's talk visuals.

I just have to say I was blown away by almost every single shot of the movie. The black and white color looks gorgeous, and the indoor shots have lots of shadows and texture. The outdoor shots seem overexposed, brilliant, artificial and almost unbearable. The criterion version just looks superlative.

Watch the dinner scene at the start where the man's brother in law is getting drunk with Tony. They are yelling, and having a time, and the camera dives/sweeps/rapidly turns around and falls. It conveys the dizzying nature of the conversation. The outdoor scenes in the first half of the movie have lots of bustle and activity, with lots of turns and shifts of perspective. People will remember the historical themes, but please don't overlook the amazing cinematography (which rightfully doesn't call attention to itself but enhances the emotional impact of every scene). In one scene (where Person X hits Person Y), camera conveys the claustrophobic, almost paranoiac perspective of Person X and sets the rest of the action up. We just knew what was going to happen next here.

The dream sequences/surreal effects were modest and didn't seem too fantastic; they were small enough for a small man overtaken with fear.