In an inadvertently comical scene across the half-way mark of The Survivor, a journalist performed by Peter Sarsgaard remarks to Harry Haft—the movie’s protagonist, a real-life Auschwitz survivor who was pressured to battle fellow prisoners—that, “Nothing is black and white: the candy spot of a real story is the cracks, the frequent floor between Jew and Nazi.” It’s not solely clear to what extent that is presupposed to function the movie’s personal modus operandi, but it surely’s fairly humorous that the road seems in a movie the place the focus camp flashbacks are offered in solemn black and white.
The Survivor’s story is instructed in two distinct elements. One is ready in post-war America, the place the boxer Harry Haft (Ben Foster, with a creaky accent and one thing prosthetic happening in his facial space) is vying to battle Rocky Marciano, hoping to garner sufficient publicity to reconnect along with his misplaced love, Leah. The opposite portion is ready in the course of the warfare, the place Herschel Haft’s expertise for pugilism is famous by a focus camp officer (performed by Billy Magnussen, with a ripe German accent straight from the Monty Python playbook). It’s Haft’s capacity to battle—certainly, to destroy his fellow inmates—that may guarantee his survival of Auschwitz: that is the traumatic and morally ambiguous previous that haunts Harry as he tries to settle in america.
The Survivor has a substantial amount of story to inform, and the movie must have an ethical and psychological compass of extraordinary attain with the intention to give us an understanding of this man’s story. Sadly, the movie takes just a few shortcuts alongside the best way, significantly in its presentation of scenes set in Auschwitz. Right here, Nazi officers are offered with rote “German” accents when talking in English, however are sometimes seen reverting to precise German with the intention to showcase their true evil, akin to after they shout “Jew animal” at Haft whereas he fights. That is each a cliché and a crutch, obviating the necessity to consider evil in nuanced phrases and reverting to a form of xenophobia based mostly on the sounds of the German language. The movie deepens this portrayal with slow-motion lensing, and with heightened sound design in the course of the brutal fights between Haft and his fellow prisoners. These punches sound patently absurd—that is the stylized punching sound made by fighters throughout motion scenes in trendy movies, not the far more blunt and terrifying sound of precise thumps touchdown. It feels incorrect that the movie would over-egg these scenes for drama.
Again within the trendy world, Barry Levinson’s drama manages just a little extra shading, aided by a efficiency from Ben Foster that sometimes relaxes into recognizable humanity. For an excessive amount of of the movie, his depiction of Haft is a set of mannerisms, accent, tics, prosthetics and voice-work, with the kind of freighted anguish that historically performs nicely throughout Oscar season. There are shades of De Niro right here—a form of SNL Robert De Niro—in the best way Foster performs a lot greater than everyone surrounding him. As compared with the extra delicate work completed by Vicky Krieps within the position of the lady who listens to Haft’s story and can ultimately marry him, Foster’s efficiency is big. Krieps’s lilting mid-European tones even have the unlucky impact of constructing Foster’s put-on accent appear all of the extra phoney. However at occasions, the pair handle to create one thing extra genuine, and there are candy scenes of the 2 of them, whose courtship is so stumbling and pure, strolling collectively by a picture-postcard Fifties seaside. The reconstruction of the interval is strong all through, and there’s something heartening in seeing the sheer monetary means on the film’s disposal in recreating this period.
However too usually The Survivor takes the straightforward method out, akin to in its depiction of African-American individuals—mates of Haft’s from boxing, who have interaction him on the subject of persecution in ham-fisted methods. The screenplay is way much less profitable at touchdown this weightier materials than it’s at selecting up on plausible, charming element: the scene of Haft fascinated with Black and Jewish commonalities ends with him by chance consuming pork, whereupon he remarks, “It doesn’t matter—God doesn’t discover what I do.” That is good writing, as a result of it provides a way of character and throws the movie’s themes into aid with out sledgehammering the viewer.
The Survivor is total a reasonably elegant mid-budget bundle that tells its story with laudable dedication from all events. Nonetheless, it’s placing that clichés to do with trauma, masculinity, violence, and—most significantly—the Holocaust, are nonetheless so unresolved, so unchallenged by a movie of this sort. Far too usually, The Survivor is unwittingly humorous, which—on this reviewer’s opinion—a movie about surviving focus camps by changing into a collaborator in your fellow individuals’s struggling most likely shouldn’t be.