"If a mouse lives in a cookie jar, that doesn't make him a cookie!" So says patriarch Arthur O'Connell when asked about the lack of compassion of Dutch pastor Nigel Hawthorne, who refuses to help hide a newborn Jewish baby after the Nazis invade the Netherlands. Immediately, all radios are confiscated and all Jews are ordered to wear yellow stars. Christian O'Connell is so furious that he wears one as well, even though no Jewish blood flows in his veins. He is the aging father of two daughters-the wonderful Julie Harris and a beautiful non-professional actress named Jeanette Clift whom evangelist Billy Graham hired for the key role of Corrie Ten Bloom. A beautiful story over the evils of intolerance, the writers remind us that the God of Abraham and Isaac is our God too.
Hiding Jews puts the family in grave danger, leading them to be arrested and eventually sent to a work camp, where they meet embittered Eileen Heckart, who has worked her way from being a prisoner to passing out food and selling luxuries to the inmates. Clift begins to try and teach Heckart the importance of one's faith. In writing the religious aspect of the script, the film's authors have avoided an overly preachy sentiment that would aggravate viewers not interested in the Christian perspective. What is included is not meant to manipulate non-believers, but open their eyes to the possibility of what can happen when one brings Jesus into their hearts. The Ten Blooms have remained strongly faithful to God in spite of their horrors, and as each tragedy comes forth, they face them with acceptance and dignity, yet not without questioning on occasion as to why. There is great detail put into the hiding of the Jews that the Ten Blooms take in, including drills that time them getting from the dining area into the hiding place. Personal conflicts do arise, through the arrival of a Jewish professor who doesn't fully cooperate with the people who are trying to help him. However, he is not totally unlikable, showing some softness that make his eccentricities more understandable.
All of the performances are excellent, but it is Jeanette Clift who stands out, even among the more well known theatrically trained actors. She brings such depth into the life of this lonely and compassionate woman who gives her heart to everybody she comes in contact with, yet remains brave as she faces possible death. It is impossible not to fall in love with her. I've met people like this in real life, so I do know they exist. Almost absolute perfection in an imperfect world. Earth Mothers, Mother Courage, call them what you will. They exist in every race, every city, every era. The scene where she fantasizes about killing a sadistic female guard shows Corrie from a realistic and not overly saintly light. They could have cast a major name in this part (she reminds me very much of Patricia Neal), but having a non-professional playing the lead is extremely sensible.
Julie Harris is an actress of impeccable stature, and understated in her role of the more fragile sister. She shows her fear through her eyes, and more outright than Clift as the horrors begin to compile around them. In his last film, veteran Arthur O'Connell gives a marvelous performance of the family patriarch. He could have played the character as more of curmudgeon, but instead, adds a gentle understanding yet unsurmountable strength to the quiet dignity underneath. There is of course the disgust he shows for how the world has changed. The scene where the Ten Bloom's house is invaded by Nazis is horrifyingly sad. An outstanding musical score, first heard over the beautifully done credits (filled with old photos of the real Ten Blooms, I suppose, as well as sepia-toned photos of the cast made to look vintage), doesn't overpower, and really adds to the emotional impact of the drama. And for those left in the house after the arrest, the terror is real. So effective, in fact, I felt as if I were there as well.
The always outstanding Eileen Heckart makes her entrance 70 minutes into the film, and is recognizable from the moment she snaps open Clift's metal prison window to pass her food. That sensational voice, so unforgettable and beautifully raspy, is filled with raw realism, yet always sympathetic in spite of her cynicism. She makes her presence most welcome. In the autobiography "Just Ouside the Spotlight: Growing Up with Eileen Heckart" by her son, Luke Yankee, he tells of appearing in a cameo in a great scene that ended up on the cutting room floor. To see two theatrical giants like Julie Harris and Eileen Heckart appearing in a movie together, is a Broadway lover's dream. When Heckart must face repercussion for getting illegal supplies, it is gut-wrenching to watch and hear her scream agonizingly. It's also ironic that when Heckart's prisoner # is shown, it starts with 666, quite an ironic metaphor.
The Holocaust sequences, like in the mini-series "Holocaust", and movies such as "Sophie's Choice" and of course, "Schindler's List", are realistically portrayed. The physical indignities that Clift, Harris, and Heckart face make their acting all the more admirable; This was not easy work. To see them covered in varying stages of soilment, one is in true admiration for their devotion to their craft. Then, as tragedy leads to triumph (quite by accident we learn in the finale), it is doubled by Corrie's faith never shaken. What could very well be a depressing ending is actually quite triumphant because the viewer can face their own despairs with more hope than they ever dreamed of.
Hiding Jews puts the family in grave danger, leading them to be arrested and eventually sent to a work camp, where they meet embittered Eileen Heckart, who has worked her way from being a prisoner to passing out food and selling luxuries to the inmates. Clift begins to try and teach Heckart the importance of one's faith. In writing the religious aspect of the script, the film's authors have avoided an overly preachy sentiment that would aggravate viewers not interested in the Christian perspective. What is included is not meant to manipulate non-believers, but open their eyes to the possibility of what can happen when one brings Jesus into their hearts. The Ten Blooms have remained strongly faithful to God in spite of their horrors, and as each tragedy comes forth, they face them with acceptance and dignity, yet not without questioning on occasion as to why. There is great detail put into the hiding of the Jews that the Ten Blooms take in, including drills that time them getting from the dining area into the hiding place. Personal conflicts do arise, through the arrival of a Jewish professor who doesn't fully cooperate with the people who are trying to help him. However, he is not totally unlikable, showing some softness that make his eccentricities more understandable.
All of the performances are excellent, but it is Jeanette Clift who stands out, even among the more well known theatrically trained actors. She brings such depth into the life of this lonely and compassionate woman who gives her heart to everybody she comes in contact with, yet remains brave as she faces possible death. It is impossible not to fall in love with her. I've met people like this in real life, so I do know they exist. Almost absolute perfection in an imperfect world. Earth Mothers, Mother Courage, call them what you will. They exist in every race, every city, every era. The scene where she fantasizes about killing a sadistic female guard shows Corrie from a realistic and not overly saintly light. They could have cast a major name in this part (she reminds me very much of Patricia Neal), but having a non-professional playing the lead is extremely sensible.
Julie Harris is an actress of impeccable stature, and understated in her role of the more fragile sister. She shows her fear through her eyes, and more outright than Clift as the horrors begin to compile around them. In his last film, veteran Arthur O'Connell gives a marvelous performance of the family patriarch. He could have played the character as more of curmudgeon, but instead, adds a gentle understanding yet unsurmountable strength to the quiet dignity underneath. There is of course the disgust he shows for how the world has changed. The scene where the Ten Bloom's house is invaded by Nazis is horrifyingly sad. An outstanding musical score, first heard over the beautifully done credits (filled with old photos of the real Ten Blooms, I suppose, as well as sepia-toned photos of the cast made to look vintage), doesn't overpower, and really adds to the emotional impact of the drama. And for those left in the house after the arrest, the terror is real. So effective, in fact, I felt as if I were there as well.
The always outstanding Eileen Heckart makes her entrance 70 minutes into the film, and is recognizable from the moment she snaps open Clift's metal prison window to pass her food. That sensational voice, so unforgettable and beautifully raspy, is filled with raw realism, yet always sympathetic in spite of her cynicism. She makes her presence most welcome. In the autobiography "Just Ouside the Spotlight: Growing Up with Eileen Heckart" by her son, Luke Yankee, he tells of appearing in a cameo in a great scene that ended up on the cutting room floor. To see two theatrical giants like Julie Harris and Eileen Heckart appearing in a movie together, is a Broadway lover's dream. When Heckart must face repercussion for getting illegal supplies, it is gut-wrenching to watch and hear her scream agonizingly. It's also ironic that when Heckart's prisoner # is shown, it starts with 666, quite an ironic metaphor.
The Holocaust sequences, like in the mini-series "Holocaust", and movies such as "Sophie's Choice" and of course, "Schindler's List", are realistically portrayed. The physical indignities that Clift, Harris, and Heckart face make their acting all the more admirable; This was not easy work. To see them covered in varying stages of soilment, one is in true admiration for their devotion to their craft. Then, as tragedy leads to triumph (quite by accident we learn in the finale), it is doubled by Corrie's faith never shaken. What could very well be a depressing ending is actually quite triumphant because the viewer can face their own despairs with more hope than they ever dreamed of.