Fugitive Pieces

Jakob Beer (Stephen Dillane) and Alex (Rosamund Pike) seem to be a happy Toronto couple but Alex finds his journal where he fears losing his identity to Alex. He is haunted by his past and they split up. His Polish family was destroyed by the Nazis and his sister Bella (Nina Dobrev) was taken by them. Jakob (Robbie Kay) was rescued by Greek archaeologist Athos Roussos (Rade Šerbedžija). In Greece, they fear the occupying Nazis and escape to Canada. In Toronto, they befriend their Jewish neighbors who escaped from Warsaw.

This is a gentle telling of a horrifying tale. The adult Jakob is fine but it is the chemistry between Rade and the younger Jakob that is so touching. Rade is so powerful and the kid is so fragile. The movie does miss Rade when he's gone. However, it doesn't mean Jakob's later relationship isn't just as compelling. There is a dreamy, gentle tone throughout.

The film tells the story of a Polish man, Jakob, who was orphaned during the 2nd World War and saved by a Greek archaeologist. His saviour smuggles him out of Poland to Greece and relative safety. After the war they move to Canada and Jakob reflects on his life, writing about his traumatic childhood, the memories of which still haunt him. His troubled emotions lead to the break up of his marriage and he moves on with the intent of coming to terms with his past.

Towards the end of the film the story does perhaps get a little too profound and the ultimate resolution is a bit too neat and tidy to be believable. However, it's a great story.

This film has rare qualities. It is pensive, intelligent and looks for truths, not flash. It has depth rarely seen in english films. Mid-film though, I was wondering if it is going somewhere. Then I saw, it is not going it's coming toward us. The story of a boy survivor arriving to normalcy, finally, with what he has, his loving ghosts.

This probably says more about my own gray matter than it does about the movie, but I was a good 20 minutes into "Fugitive Pieces" when I realized I'd already seen it. Still, there's something slightly generic about the film; well more than slightly, as Holocaust-survivor movies have become one of the more popular genres going. Let's just say that for me, "Pieces" was not a very memorable example of the genre.

One obvious problem: the protagonist, Jakob, is the least interesting character in the film. Yes, I know that he's a survivor, and that's made him laconic and introverted, but my god is he dull. (I haven't read the book and have no desire to, so perhaps the film is being faithful to the source material. If so this was a mistake.)Another problem: the actor, Stephen Dillane, is at least a decade too old for the part. The scene where he and Rade Serbedzija are shown on camera for the first time is jarring -- Dillane was 50 when the movie was shot; Serbedzija was 60. I find it beyond incredible that not one but two completely hot babes would totally fall for this dweeb. Only in sitcoms, and in the movies.

What I liked: this is a beautifully shot movie. Every frame is a marvel of composition, light and color. And while the Jakob character was a bit dull for my liking, I did appreciate that the movie didn't beat us over the head with the Nazis from Central Casting, as if we were just learning about their atrocities. There are a few, but they aren't gruesome nor gratuitous. In fact just about every character in the film is basically a good guy just trying to muddle through.

This week Jews and others around the world celebrated Yom Hashoah, Holocaust Remembrance Day, observed every year since 1959 to "never forget" the murder of six million Jews during World War II. Loosely based on a novel of the same name by Canadian author Anne Michaels, Fugitive Pieces by Jeremy Podeswa whose father was a Holocaust survivor, touches on an often-overlooked aspect of the tragedy, that those who have managed to survive deep trauma may be unable to rid themselves of their obsessions. The film spans a period of roughly 35 years, beginning in 1942 and concluding in the late 1970, going back and forth in time between the events of childhood and present time. Set in Biskupin, Poland during World War II, seven-year old Jakob Beer (Robbie Kay) witnesses the murder of his parents and the abduction of his beloved sister Bella by German soldiers.

Disregarding Bella's instructions to remain at home, Jakob runs away. Hiding in the forest, he plants himself into the ground "like a turnip", hiding his face with leaves until he is discovered by Athos Roussos (Rade Serbedzija), a warm hearted Zorba-like Greek archaeologist on a dig. Athos brings the traumatized boy to his home on the sun-drenched island of Zakynthos in Greece where they live through the Nazi occupation, suffering deprivation but surviving the atrocities that befall Greece's Jewish community. The relationship between Jakob and Athos is slow to develop but they eventually form a bond. "I will be your koumbaros, your godfather," Athos says. "We must carry each other. If we don't have this, what are we?" After the war, Athos receives a teaching position in Canada and they move there hoping to forget the past. Jakob, now played as an adult by Stephen Dillane, has neighbors who are also Jewish immigrants and he develops a close relationship with Ben (Ed Stoppard) who he watches grow into a gifted writer. Though Jakob has become a successful writer in Canada himself, his marriage to the lovely Alex (Rosamund Pike) is threatened by haunting memories of Bella and his obsession with the Holocaust. Her vivacity and joy for life is in sharp contrast to his solemnity and he "longs for the loss of memory", and writes about his wife's "shameless vitality" saying, "To live with ghosts requires solitude".

After their breakup, Jakob falls in love with Micheala (Israeli actress Ayelet Zurer), a scholar twenty-five years his junior, and her charm and intelligence allows him to venture out of his shell. Fugitive Pieces is a quiet and sensitive film that has a touching poetic quality and Robbie Kay turns in one of the best child performances I have seen in years. Though the film often becomes too literary and does not soar dramatically, its message is strong - that though we should never forget a tragedy, there may be a steep price for remembering.