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The War Pianist
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Pianist: NOUN. Informal. A person who operates or controls a radio transmitter – often in code. ...
Operation Tulip (WW2 Secret Agent #3)
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Holland, 1944: Undercover British agent Nancy Callaghan has been given her toughest case yet. A key...
WWII Historical Fiction Holland Romance
Hazel (1853 KP) rated The Storyteller in Books
May 30, 2017
An Ethical Question
Jodi Picoult is the bestselling author of numerous novels, with My Sister’s Keeper being the most well known, perhaps. All of her stories are well written although it is still possible to notice improvements in the writing over the years right up until now with her latest, The Storyteller, which quite possibly could be her best yet.
Arguably, The Storyteller does not quite read as a Jodi Picoult novel is known to. This is, in part, because of the nature of the story. Most of her previous books deal with medical ethics and/or court cases, whereas this story contains neither. The Storyteller contains a combination of past and present - the main focus being on the Holocaust.
Four people narrate the novel: two in the present day and two giving an account of their experience during the Second World War. It begins with Sage Singer, a 25 year old, hermit-like woman with a disfiguring facial scar – the result of a terrible accident, one that also led to the death of her mother. For the past three years Sage has been participating in a grief group – a place where people who have lost loved ones can come together and talk about their feelings. After three years surely Sage would no longer need the help of the group? However she still attends, not because she finds it helpful, but for the opposite reason. She even says herself: “If it were helpful I wouldn’t still be coming.” It unfolds that she still blames herself for her mother’s death despite the reassurances that it was an accident and not her fault.
It is through the grief group that Sage meets an elderly man, Josef Weber. After becoming friendly and discovering that Sage comes from a Jewish family, Josef confesses to something terrible – he was a Nazi during the war. He killed people. He wants Sage to represent all the Jews he killed and forgive him. Then he wants her to help him die.
Whilst, Josef recounts his experience of being part of the Nazi party, another account is also given. Minka, Sage’s grandmother, describes the terrors she faced as an imprisoned Jew suffering fates such as the deaths of all her family and friends and her time in Auschwitz. Another element to the novel is the vampire story Minka wrote as a teenager. This is interspersed between the other chapters of the book. Unwittingly, Minka’s fictional tale reflects the alienation and destruction of the Jews. The final character is Leo who, like Sage, is narrating the present day, and trying to locate ex-Nazi members in order for them to be punished by the government.
One thing to praise Picoult for, not just in The Storyteller, but also in all her novels is the amount of in-depth research she undertakes to make her stories as accurate as possible even though they are fictional. Minka’s account was written is such a way that it was almost believable that Picoult had been there and experienced it herself. She even learnt to bake bread so that she could write from the point of view of a baker. This is pure dedication!
The Storyteller is an amazing, beautiful book, which is not purely an enjoyable read. It informs, shocks and stays with you for a long time. You will question your own morals and ability to forgive. Is anyone entirely evil? Is anyone entirely good? Perhaps we are both, so why should anyone have the right to treat others as inferior from themselves?
Arguably, The Storyteller does not quite read as a Jodi Picoult novel is known to. This is, in part, because of the nature of the story. Most of her previous books deal with medical ethics and/or court cases, whereas this story contains neither. The Storyteller contains a combination of past and present - the main focus being on the Holocaust.
Four people narrate the novel: two in the present day and two giving an account of their experience during the Second World War. It begins with Sage Singer, a 25 year old, hermit-like woman with a disfiguring facial scar – the result of a terrible accident, one that also led to the death of her mother. For the past three years Sage has been participating in a grief group – a place where people who have lost loved ones can come together and talk about their feelings. After three years surely Sage would no longer need the help of the group? However she still attends, not because she finds it helpful, but for the opposite reason. She even says herself: “If it were helpful I wouldn’t still be coming.” It unfolds that she still blames herself for her mother’s death despite the reassurances that it was an accident and not her fault.
It is through the grief group that Sage meets an elderly man, Josef Weber. After becoming friendly and discovering that Sage comes from a Jewish family, Josef confesses to something terrible – he was a Nazi during the war. He killed people. He wants Sage to represent all the Jews he killed and forgive him. Then he wants her to help him die.
Whilst, Josef recounts his experience of being part of the Nazi party, another account is also given. Minka, Sage’s grandmother, describes the terrors she faced as an imprisoned Jew suffering fates such as the deaths of all her family and friends and her time in Auschwitz. Another element to the novel is the vampire story Minka wrote as a teenager. This is interspersed between the other chapters of the book. Unwittingly, Minka’s fictional tale reflects the alienation and destruction of the Jews. The final character is Leo who, like Sage, is narrating the present day, and trying to locate ex-Nazi members in order for them to be punished by the government.
One thing to praise Picoult for, not just in The Storyteller, but also in all her novels is the amount of in-depth research she undertakes to make her stories as accurate as possible even though they are fictional. Minka’s account was written is such a way that it was almost believable that Picoult had been there and experienced it herself. She even learnt to bake bread so that she could write from the point of view of a baker. This is pure dedication!
The Storyteller is an amazing, beautiful book, which is not purely an enjoyable read. It informs, shocks and stays with you for a long time. You will question your own morals and ability to forgive. Is anyone entirely evil? Is anyone entirely good? Perhaps we are both, so why should anyone have the right to treat others as inferior from themselves?
Bob Mann (459 KP) rated Alone in Berlin (2017) in Movies
Sep 29, 2021
Small Rebellions.
Once again, World War II turns up another true story of quiet valour to turn into a motion picture. At a time when Trump is pontificating about so called “fake news”, here is a timely tale from history which centres on the battle against genuinely fake news: the Nazi propaganda machine.
After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,”Harry Potter and the Goblet of Fire”) and Anna (Emma Thompson, “Saving Mr Banks“) turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.
Resistance is futile. Otto (Brendan Gleeson) and Anna (Emma Thompson) out on a new mission.
Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that’s no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are ‘alone in Berlin’.
Daniel Brühl as police detective Escherich getting more than he bargained for from the SS.
After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto’s carpentry company is being encouraged “by the Fuhrer” to double and triple their output… of coffins.
A (very clean) Berlin, decked out with Nazi regalia.
More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanor and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl (“Rush“) as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.
The Nazi Womens’ League out on another fund-raising sweep, providing Thompson with one of her best scenes in the film with an Oberführer’s wife.
Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don’t see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto’s mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….
Otto and Elise Hampel – the real life characters on which the film’s Otto and Anna Quangel were based.
I can’t finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. “Small” films like this tend to rather disappear into the woodwork for Oscar consideration, but here’s a soundtrack that I think should be considered: (but what do I know… when “Nocturnal Animals” wasn’t even nominated in one of the Oscar crimes of the century!).
In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I’ve seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos (“Amour”). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.
After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,”Harry Potter and the Goblet of Fire”) and Anna (Emma Thompson, “Saving Mr Banks“) turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.
Resistance is futile. Otto (Brendan Gleeson) and Anna (Emma Thompson) out on a new mission.
Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that’s no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are ‘alone in Berlin’.
Daniel Brühl as police detective Escherich getting more than he bargained for from the SS.
After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto’s carpentry company is being encouraged “by the Fuhrer” to double and triple their output… of coffins.
A (very clean) Berlin, decked out with Nazi regalia.
More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanor and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl (“Rush“) as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.
The Nazi Womens’ League out on another fund-raising sweep, providing Thompson with one of her best scenes in the film with an Oberführer’s wife.
Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don’t see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto’s mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….
Otto and Elise Hampel – the real life characters on which the film’s Otto and Anna Quangel were based.
I can’t finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. “Small” films like this tend to rather disappear into the woodwork for Oscar consideration, but here’s a soundtrack that I think should be considered: (but what do I know… when “Nocturnal Animals” wasn’t even nominated in one of the Oscar crimes of the century!).
In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I’ve seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos (“Amour”). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.
Kelly (279 KP) rated Babylon Berlin in TV
Dec 16, 2018
Realistic portal of post Great War Berlin (1 more)
Not your usual boy meets girl story
Gritty, thrilling, engaging... need I go on?!
I have not found a series in some while that I was so attached, as Babylon Berlin. I confess, I watched the subtitles version, as my knowledge of German is pretty poor, but even this did not detach from the enjoyment of the series.
Babylon Berlin follows Gereon Rath, a detective struggling to deal with the aftermath of the Great War. He is supported at times in his cases by Charlotte Ritter, an administrator by day who supplements her families income through prostitution at night. I found myself routing for both characters throughout both series 1 and 2 of Babylon Berlin, even knowing Charlottes less than legal background, which is never hidden from the viewer. There was/ is a clear attraction between the two characters, which frustratingly is never fulfilled. Both characters are played by incredibly strong actors and are fully believable throughout.
What grasped my attention from the start was the clear portrayal of poverty that people lived in post war Berlin. Despite knowing some of the issues in living standards, I was drawn to the accuracy of the portrayal, many other stories set in this era would seek to romanticise the period at the end of the Weimar’s golden era, however the stark reality of degradation, sickness, depression and crime is always at the forefront of the story, and the political complexity of the time is covered well. This makes the the series very dark at times.
I was also surprised by the lack of Nazi input there is across season 1 and 2. We see lots about involvement of communists within the political system in the series, but there are only a small handful of references to the brown shirts - this is in stark contrast to what we are taught in schools, where the impression is given that by the late 1920s, Nazi involment is promenant in German society. This actually challenged my thinking on the subject, allowing me to realise that this is still a period, where, although the Nazis are known, they are not yet that popular.
I cannot wait until season 3 is released in order to find out what is next in store for Gereon and Charlotte. This truly is German production at its best.
Babylon Berlin follows Gereon Rath, a detective struggling to deal with the aftermath of the Great War. He is supported at times in his cases by Charlotte Ritter, an administrator by day who supplements her families income through prostitution at night. I found myself routing for both characters throughout both series 1 and 2 of Babylon Berlin, even knowing Charlottes less than legal background, which is never hidden from the viewer. There was/ is a clear attraction between the two characters, which frustratingly is never fulfilled. Both characters are played by incredibly strong actors and are fully believable throughout.
What grasped my attention from the start was the clear portrayal of poverty that people lived in post war Berlin. Despite knowing some of the issues in living standards, I was drawn to the accuracy of the portrayal, many other stories set in this era would seek to romanticise the period at the end of the Weimar’s golden era, however the stark reality of degradation, sickness, depression and crime is always at the forefront of the story, and the political complexity of the time is covered well. This makes the the series very dark at times.
I was also surprised by the lack of Nazi input there is across season 1 and 2. We see lots about involvement of communists within the political system in the series, but there are only a small handful of references to the brown shirts - this is in stark contrast to what we are taught in schools, where the impression is given that by the late 1920s, Nazi involment is promenant in German society. This actually challenged my thinking on the subject, allowing me to realise that this is still a period, where, although the Nazis are known, they are not yet that popular.
I cannot wait until season 3 is released in order to find out what is next in store for Gereon and Charlotte. This truly is German production at its best.
The Diary of a Young Girl
Anne Frank, Mirjam Pressler and Otto Frank
8.2
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ClareR (5726 KP) rated Aftermath: Life in the Fallout of the Third Reich, 1945-1955 in Books
Feb 1, 2022
This is such an informative, interesting book about a period in German history that I know little about: 1945-1955. It shows that German cities were pretty much decimated by the end of the war, that ex-Nazi party members were forced to clean up the rubble and that most importantly, many Germans thought that they were hard done by, by the end of the war - their country in ruins, no industry and no food. But what’s most startling, is how quickly the German recovery was. Jähner states that this was in large part due to the return of the Germans who had been living in occupied countries.
The black market was also a huge earner for many German citizens: one teenager is described as having thousands of Marks worth of cigarettes in his house. Money was there to be made for the improvising, bold, German!
What probably resonated with me most, was the lot of the German woman. They had been expected to be the perfect German Female during National Socialism, then experienced a kind of social and sexual liberation after the end of the war. However, when their husbands and men returned from captivity (or just made their ways home), they found themselves being expected to revert to the stereotypical role of the housewife. But they wanted more. They wanted to continue in careers, they wanted equality, and they didn’t necessarily want to deal with broken, defeated husbands (as cruel as this may seem).
What really surprised me, was how was how former Nazi party members still worked in positions of influence, both politically and in industry - and this was the case in both East and West Germany. Even though the Allies made a point of ‘educating’ German citizens about the holocaust, National Socialists seemed to largely escape punishment and carried on with their lives. Their children may have had their doubts as to their parents innocence, and the real movement to ‘out’ the national guilt didn’t really get going until the 1960’s, but there was dissent in the 1950’s already.
I could go on. This is such an interesting book, and written so accessibly. It didn’t read at all like a dry history book, and the photos and posters from the time are well chosen and really add to the book as a whole. This isn’t just a history book for history buffs.
The black market was also a huge earner for many German citizens: one teenager is described as having thousands of Marks worth of cigarettes in his house. Money was there to be made for the improvising, bold, German!
What probably resonated with me most, was the lot of the German woman. They had been expected to be the perfect German Female during National Socialism, then experienced a kind of social and sexual liberation after the end of the war. However, when their husbands and men returned from captivity (or just made their ways home), they found themselves being expected to revert to the stereotypical role of the housewife. But they wanted more. They wanted to continue in careers, they wanted equality, and they didn’t necessarily want to deal with broken, defeated husbands (as cruel as this may seem).
What really surprised me, was how was how former Nazi party members still worked in positions of influence, both politically and in industry - and this was the case in both East and West Germany. Even though the Allies made a point of ‘educating’ German citizens about the holocaust, National Socialists seemed to largely escape punishment and carried on with their lives. Their children may have had their doubts as to their parents innocence, and the real movement to ‘out’ the national guilt didn’t really get going until the 1960’s, but there was dissent in the 1950’s already.
I could go on. This is such an interesting book, and written so accessibly. It didn’t read at all like a dry history book, and the photos and posters from the time are well chosen and really add to the book as a whole. This isn’t just a history book for history buffs.