Au service de la liberté

Varian Fry (William Hurt) is an American who witnesses the cruel treatment of the Jews in Nazi Germany. He advocates for helping the artistic lights of Europe to escape the Nazis. He enlists the help of many including Mrs Roosevelt. In Vichy France, he finds the help of Miriam Davenport (Julia Ormond) but the situation starts to deteriorate.

This is a smaller TV movie based on the true story. However there are a lot of big name actors including Alan Arkin and Lynn Redgrave. The actors in this is enough to make this a reasonable movie. The subject matter is very compelling. Varian's mannerisms can be very stiff, and the dialog can be a little bit unnatural. However the story comes with a good dose of international intrigue. Also this movie needs to be made.

I recently stumbled across the name Varian Fry, and was intrigued by the fact that he is one of only 3 Americans to be named "Righteous Among The Nations" by Israel -- which is an award given to non-Jews who saved Jews during the Holocaust. (Such as Oskar Schindler).

When I saw that a movie had been done about his experiences, I decided to rent it, even though it was made-for-TV.

Unfortunately, I don't think this film did justice to the emotional intensity of this period of history, or Fry's remarkable achievements. Fry's real-life story seems like it would be really juicy, but is portrayed in this film without much of the juice.

Right off the bat, I sensed that this was a cheap production. I noticed an extra who was walking in one scene, and then is seated in a wheelchair in another scene. I noticed the same prop (a photo with Joseph Kennedy) used in the background in 2 different offices. Of course, these minor goofs are not important, but they give you a sense of the low-budget flavor.

Ultimately, I give Varian's War a rating of 5 because it is hard to totally destroy this interesting tale, and because there are at least a few decent scenes and moments of genuine emotion. But overall, it lacks the charm, excitement and thrills that I am sure accompanied Varian Fry's actual adventures in France.

By the end of the film, my thirst for knowledge about this heroic American had not been quenched.

I saw this film last night at its advanced screening at the WorldFest Film Festival in Houston. This Canadian production is absolutely marvelous. A feel-good movie about the Holocaust is hard to come by, but this not only fits that description, it refrains from becoming a sappy and trite "let's save the world" flick. Instead, it treats its subject matter with dignity and reveals itself as a poignant film that will cause you to question your own character and faith in humanity. Not only is the story well put together (and based on a true story, at that!), but the acting is terrific, with William Hurt and Julia Ormond delivering outstanding performances. You won't miss the character of Bella Chagall, who steals every scene she's in. Even the minor characters appear to be three-dimensional rather than simple window dressing. The costuming was absolutely sensational; I don't think I've really ever bothered to look at costuming and lighting before but in this case, it's so perfect you can't help but notice. You must see this film!

The movie plods along - victim of a poor screenplay that: i) distorts terribly the real facts, ii) fails to convey the excitement and danger of the undertaking, iii) fails to address the underlying moral question of seeking to save only those who've made their names in the arts, and iv) fails to sufficiently acquaint the audience with the merits of those who escape. The best thing about the movie (as true in so many movies) is Alan Arkin's performance in a small role - he's always superb.

I've no problem with the alteration of some facts in order to make a more compelling story. Thus, the fact that Chagall and his wife did not make the trip with Werfel and Heinrich Mann but went at a different time, or that there were actually up to a dozen people working with the committee (many of them European), or that Fry hardly ever personally escorted any of the people into Spain, I see as normal poetic license.

However, to say that the Miriam Davenport character is a composite - but then to steal the name of a real person who died during the production in order to present a terribly ugly and false portrait of her, is not forgivable. From what I've read (including her journal), the real Davenport was a very young, sweet idealistic person whose fiance was trapped in Yugoslavia, not the coarse, promiscuous and tough creature given this name in the movie - (and given a fictitious physical ailment).

And to make Fry a bizarre, hesitant, effete man who affects a dandy's guise - is absurd. Again, from what I've read, the real Fry was smart, straightforward, strict, and decisive. (And he didn't die penniless, but was teaching classics at a New England prep school).

No one in the movie addresses the central moral question - why should the lives of those in the arts be more precious? The vast majority of those saved, had done their best work long before (Arendt is the obvious exception) - they weren't being saved for their future contributions so much as their past. Would it not be at least arguable that those saved should be those who were most involved in charitable works, had the greatest "heart"? Or that those saved should be those whose past indicated the most practicable help to the U.S. should it get into the war? Or that those saved should be those who had the closest family relation to American citizens? The movie's failure to address these questions - and blithe assumption that those in the arts are simply superior to the rest of us, so their very lives are more worthy of preservation - is deeply annoying.

Moreover, the movie fails to convey any sense of the value of the particular people saved. We need to know why these particular people are so important to Fry and others. Why could they not give the viewer a sense of the writing of Heinrich Mann, Feuchtwanger or Werfel? Why could they not show a single canvas of the work of Duchamps, Ernst or Chagall? Why could they not show some of the sculpture of Lipschutz? The political musings of Arendt? We need to know why these people are so critical.

This movie is dull. Those who like it on this board seem really to be responding to the idea of a movie about Fry's work - or to be (quite justly) praising what he and others in the committee did. Since the central drama of the personalities involved is so falsely presented, it's far far better to simply read about them.

Varian was not known to me before this movie and I was disappointed that the movie didn't bring out more about him and his motivations. However, both Hurt and Ormond gave fabulous performances. He had that strange "Roosevelt" gait that you see so much in the 40's and was very understated. This had the look of pretty standard Made-for-TV fare. Usually Showtime kicks it up a notch, but not this time.