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The Chocolate Lady (94 KP) rated Lilac Girls in Books
Oct 5, 2020
This novel is very nicely written, with interesting characters. In particular, the protagonist Caroline is beautifully formed, with a life that is fascinating for those who know little about how Americans tried to help those who became unwitting refugees in the US after Hitler invaded their homelands. However, we must remember that Holocaust novels are a dime a dozen. This is why I was hoping that this novel would be different, particularly since the blurb for this book talks about Christine and her helping two survivors of the women's camp Ravensbruck. Unfortunately, the detailed information about the two other women in this story, and their introduction to Ravensbruck was, in my opinion, too much back-story. Although retelling the grim and gory ways that the Nazis treated their prisoners is a necessary evil, I somehow felt that this book included these scenes only to evoke pity for these characters. I don't want to pity characters, I want to have empathy for them, to care about them, and the author let me down with this.
In addition - and I hope this doesn't sound racist or snobbish - as a Jew, I have a hard time with Holocaust novels that seem to outwardly ignore how the Nazis treated the Jews, and only focuses on the other "undesirables." I realize that the Nazis didn't only kill Jews, but they were their primary target, and to avoid that altogether was disingenuous, to say the least. However, I was glad that this book didn't focus on any overtly Christian themes, even though I believe that there is a market for Holocaust stories within the Christian Fiction genre (see my review of the novel The Butterfly and the Violin by Kristy Cambron here http://drchazan.blogspot.com/2014/07/beauty-out-of-ugliness.html for more on my feelings about this).
Furthermore, the only Jewish reference I found in this novel was a passing reference to visiting the Ghetto and a remembrance of eating a Hanukkah delicacy. Unfortunately, the author didn't do her research properly, and the character said she remembered eating a type of doughnut that the Jewish bakers made for the holiday. Those doughnuts - known as "sufganiot" were never part of any Eastern European Hanukkah celebration at that time. In fact, sufganiot that are popular among Jews today, come from the Jews of North Africa and Arab countries. The word, sufganiot, comes from the Arabic and Hebrew words that mean sponge. While Jews in Poland did make something similar, their popularity as a particularly Hanukkah delicacy among Easter European Jews only coincided after Ashkenazi and Mizrahi Jews came together in Israel (i.e., post-1948). All of this is why I cannot give this book a rating of more than two and a half stars out of five, but I'm certain that it will find a much more sympathetic audience among non-Jewish readers.
In addition - and I hope this doesn't sound racist or snobbish - as a Jew, I have a hard time with Holocaust novels that seem to outwardly ignore how the Nazis treated the Jews, and only focuses on the other "undesirables." I realize that the Nazis didn't only kill Jews, but they were their primary target, and to avoid that altogether was disingenuous, to say the least. However, I was glad that this book didn't focus on any overtly Christian themes, even though I believe that there is a market for Holocaust stories within the Christian Fiction genre (see my review of the novel The Butterfly and the Violin by Kristy Cambron here http://drchazan.blogspot.com/2014/07/beauty-out-of-ugliness.html for more on my feelings about this).
Furthermore, the only Jewish reference I found in this novel was a passing reference to visiting the Ghetto and a remembrance of eating a Hanukkah delicacy. Unfortunately, the author didn't do her research properly, and the character said she remembered eating a type of doughnut that the Jewish bakers made for the holiday. Those doughnuts - known as "sufganiot" were never part of any Eastern European Hanukkah celebration at that time. In fact, sufganiot that are popular among Jews today, come from the Jews of North Africa and Arab countries. The word, sufganiot, comes from the Arabic and Hebrew words that mean sponge. While Jews in Poland did make something similar, their popularity as a particularly Hanukkah delicacy among Easter European Jews only coincided after Ashkenazi and Mizrahi Jews came together in Israel (i.e., post-1948). All of this is why I cannot give this book a rating of more than two and a half stars out of five, but I'm certain that it will find a much more sympathetic audience among non-Jewish readers.
Refills - Calendar & Tasks
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* We have now added support for iOS Reminders! (Jun 2014) * We are excited to announce that Refills...
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No matter what You say SmackTalk! can say it back--from Freaky to Squeaky. ** Check out "SmackTalk!...
Travello: Make Travel Social
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Travello is one of the world’s largest travel social networks, used by travelers in 180+...
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Dear users, check out the newest member in our photo editor family! This season, it's time to turn...
A film with dodgy voices.
Catching up here with a review of a film I saw a couple of weeks ago.
What a great film “Get Out” was. Jordan Peele’s classic which unpeeled (sic) race relations in a wholly novel and horrifying way. Yes, the story was a bit ‘out there’ and unbelievable, but he pulled it off with great chutzpah.
With his follow-up film – “Us”…. sorry but, for me, it just didn’t work.
From great beginnings
It all starts so promisingly. Young Adelaide Wilson (a fine debut performance by Madison Curry) is on a seaside holiday with her mother and careless father when she wanders onto the deserted Santa Cruz beach at night. There sits, like some gothic horror ghost train, the Hall of Mirrors. “Find Yourself” it taunts. She makes the mistake of entering and changes her life forever.
Spin forwards 30 years and Adelaide, now a married mother of two, is back in Santa Cruz with a terrifying feeling that things are about to go pear-shaped. And of course they do!
Why oh why oh why those voices?
This film had me gripped until a particular point. Having people stand still and silent at the end of your drive is an incredibly spooky thing to show. But then, for me, the wheels came off big time. The “reveal” of who these people were I could take. But the manner of their behaviour and – particularly – how they talked was horrifying; and not in a good way. When “Red” started speaking I couldn’t believe my ears: Joe Pasquale after swallowing Donald Duck.
From there, the film became farcical for me, descending in progressive stages to a tunnel-based apocalypse: a plot element that was just so paper thin it bore no scrutiny at all.
This was, no doubt, an attempt at a satirical dig at the class structure of America (“We are Americans” adding a double meaning to the name of the film). If it had been played as a deliberate comedy farce it might have worked. But otherwise no.
Flashes of Peele brilliance
This is not to say that there are not positives in the film. The excellent Lupita Nyong’o gives the whacky material her all, and the other adult female lead – Elisabeth Moss (from TV’s “The Handmaid’s Tale”) – is good value as Kitty Tyler: a diabolical incarnation in either form!
Peele also delivers flashes of directorial brilliance. The “hands across America”, disappearing into the sea, is a sight that stays with you. I also liked the twist at the end, although in retrospect it’s difficult to relate it to the rest of the story and strikes of desperation in the storytelling.
Overall, a big disappointment
I know there are some who really like this movie. Each to their own, but I was not one of them. After “Get Out” I was hoping for something much better. I hope that was just Jordan Peele’s “difficult second album”.
What a great film “Get Out” was. Jordan Peele’s classic which unpeeled (sic) race relations in a wholly novel and horrifying way. Yes, the story was a bit ‘out there’ and unbelievable, but he pulled it off with great chutzpah.
With his follow-up film – “Us”…. sorry but, for me, it just didn’t work.
From great beginnings
It all starts so promisingly. Young Adelaide Wilson (a fine debut performance by Madison Curry) is on a seaside holiday with her mother and careless father when she wanders onto the deserted Santa Cruz beach at night. There sits, like some gothic horror ghost train, the Hall of Mirrors. “Find Yourself” it taunts. She makes the mistake of entering and changes her life forever.
Spin forwards 30 years and Adelaide, now a married mother of two, is back in Santa Cruz with a terrifying feeling that things are about to go pear-shaped. And of course they do!
Why oh why oh why those voices?
This film had me gripped until a particular point. Having people stand still and silent at the end of your drive is an incredibly spooky thing to show. But then, for me, the wheels came off big time. The “reveal” of who these people were I could take. But the manner of their behaviour and – particularly – how they talked was horrifying; and not in a good way. When “Red” started speaking I couldn’t believe my ears: Joe Pasquale after swallowing Donald Duck.
From there, the film became farcical for me, descending in progressive stages to a tunnel-based apocalypse: a plot element that was just so paper thin it bore no scrutiny at all.
This was, no doubt, an attempt at a satirical dig at the class structure of America (“We are Americans” adding a double meaning to the name of the film). If it had been played as a deliberate comedy farce it might have worked. But otherwise no.
Flashes of Peele brilliance
This is not to say that there are not positives in the film. The excellent Lupita Nyong’o gives the whacky material her all, and the other adult female lead – Elisabeth Moss (from TV’s “The Handmaid’s Tale”) – is good value as Kitty Tyler: a diabolical incarnation in either form!
Peele also delivers flashes of directorial brilliance. The “hands across America”, disappearing into the sea, is a sight that stays with you. I also liked the twist at the end, although in retrospect it’s difficult to relate it to the rest of the story and strikes of desperation in the storytelling.
Overall, a big disappointment
I know there are some who really like this movie. Each to their own, but I was not one of them. After “Get Out” I was hoping for something much better. I hope that was just Jordan Peele’s “difficult second album”.
Bob Mann (459 KP) rated 47 Meters Down (2017) in Movies
Sep 29, 2021
Down Down, Deeper and Down.
It’s summer again; it’s a shark movie. Lisa and Kate are two sisters on holiday in Mexico with one grieving a lost relationship and the other looking for fun. Against their better judgement they go shark cage diving 5 metres below a vessel that looks like it should have been in the salvage yard 20 years ago. After a mechanical failure the cage plummets down to the sea bed….. (Go on, how deep? Have a guess. Go on, go on, go on …)
With sharks circling and air running low, will the girls survive their ordeal?
Last year, one of the surprise movies of the year for me was “The Shallows“, which I really enjoyed. A tense, well made yarn held together by a solid performance by Blake Lively and with a genuine escalation of tension (albeit let down by a poor ending).
“47 Metres Down” differs from that film in three major respects: B-movie acting, from Mandy Moore and Claire Holt (with Holt being significantly better than Moore); a screenplay by Johannes Roberts and Ernest Riera that is both ponderous and unbelievable; and dialogue that is at times truly execrable.
The film really takes its time to get to the ‘sharp end’ (as it were). Once there, the actions of the girls are so clinically stupid that they are deserving of Darwin Award nominations. Fortunately, the IQs of the sharks (well realised as CGI by Outpost VFX) are only marginally greater: the sharks will appear and then go away for ten minutes at a time, just so that the implausible plot can progress unmolested.
These films always need an escalator for the tension: in “The Shallows” it was the rising tide; in this film it is the air supply. This element works well and adds an additional element of claustrophobia to the film that is already at 11 on the scale (you surely don’t need me to tell you that claustrophobics need to avoid this film!).
Much of the dialogue is expository regarding what is going on in the darkness and is so repetitive (“We ARE going to get out of here Kate!”) that it would make a good drinking game. The worst dialogue award though goes to Matthew Modine (“Memphis Belle”) who’s repeated medical descriptions of “the bends” becomes mildly comical – I literally got a fit of the giggles at one point.
I’m not going to completely savage the film though, since there IS a nice twist to the ending, albeit one that’s heavily signposted. And instead of reaching constantly for the classic “Ben’s head in the boat” jump scare, the film occasionally teases the audience with set-ups that ultimately just feature murky water and nothing more.
My recommendation: if you’ve not yet seen “The Shallows”, check that out on DVD and give this one a miss.
With sharks circling and air running low, will the girls survive their ordeal?
Last year, one of the surprise movies of the year for me was “The Shallows“, which I really enjoyed. A tense, well made yarn held together by a solid performance by Blake Lively and with a genuine escalation of tension (albeit let down by a poor ending).
“47 Metres Down” differs from that film in three major respects: B-movie acting, from Mandy Moore and Claire Holt (with Holt being significantly better than Moore); a screenplay by Johannes Roberts and Ernest Riera that is both ponderous and unbelievable; and dialogue that is at times truly execrable.
The film really takes its time to get to the ‘sharp end’ (as it were). Once there, the actions of the girls are so clinically stupid that they are deserving of Darwin Award nominations. Fortunately, the IQs of the sharks (well realised as CGI by Outpost VFX) are only marginally greater: the sharks will appear and then go away for ten minutes at a time, just so that the implausible plot can progress unmolested.
These films always need an escalator for the tension: in “The Shallows” it was the rising tide; in this film it is the air supply. This element works well and adds an additional element of claustrophobia to the film that is already at 11 on the scale (you surely don’t need me to tell you that claustrophobics need to avoid this film!).
Much of the dialogue is expository regarding what is going on in the darkness and is so repetitive (“We ARE going to get out of here Kate!”) that it would make a good drinking game. The worst dialogue award though goes to Matthew Modine (“Memphis Belle”) who’s repeated medical descriptions of “the bends” becomes mildly comical – I literally got a fit of the giggles at one point.
I’m not going to completely savage the film though, since there IS a nice twist to the ending, albeit one that’s heavily signposted. And instead of reaching constantly for the classic “Ben’s head in the boat” jump scare, the film occasionally teases the audience with set-ups that ultimately just feature murky water and nothing more.
My recommendation: if you’ve not yet seen “The Shallows”, check that out on DVD and give this one a miss.