The words “Never forget” are inscribed in a Paris memorial honoring the victims of the “so-called ‘government of the French state’” during World War II. The memorial rests on the spot of the government’s most notorious act of villainy, the infamous Vel d’Hiv roundup of July 1942. On July 16, French police under Gestapo orders lockedthousands of Parisian Jews in the Vélodrome d’Hiver sports stadium for days, in horrible conditions, then transported them to the Drancy holding camp before finally sending them to their deaths at Auschwitz. There were almost no survivors. 

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Released last week in Los Angeles and New York City, and this weekend in select cities nationwide, the 2010 French film “Sarah’s Key” brings that tragedy to the screen. “Sarah’s Key” is based on author Tatiana de Rosnay’s New York Times bestseller by the same name, and follows two lives, decades apart, connected by a long-kept, horrible secret. Sarah (Mélusine Mayance), a young Jewish girl taken with her parents to the Vel’ d’Hiv, fights to return to Paris where her brother is locked away in a secret closet in their apartment, hiding from the police. Years later, in modern day Paris, American journalist Julia (Kristin Scott Thomas) begins to research Sarah’s story while struggling with the decision of whether to keep or abort her baby – a baby that her husband does not want. 

The film, like the book, flips between 1942 and modern-day France and New York, defying traditional World War II films, since over half of the story takes place in the 2000s. Co-writer and director Gilles Pacquet-Brenner added a few scenes to flesh out Sarah’s history, and streamlined Julia’s relationship with her husband and fellow journalists, but left the bestselling story largely intact. 

Young Sarah, played by a brilliant French actress named Mélusine Mayance, has haunting eyes and maturity beyond her years. As Pacquet-Brenner says, “She’s a great actress. She’s not a child who acts.” Coupled with the stunning, mysterious Charlotte Poutrel playing a grown up Sarah, Pacuqet-Brenner presents an unforgettable character who endures almost incomprehensible tragedy. Kristin Scott Thomas also delivers a moving performance as the journalist Julia, and between Thomas and Aidan Quinn, they keep an emotional ending from becoming melodramatic. 

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Here in New York, the taxes are excessive, rent is exorbitant, and our elected leaders are national laughing stocks, but if you love going to the movies, it is one of the best places to live.  We are usually the first and sometimes only city to get most theatrical releases, particularly idiosyncratic documentaries and foreign films.  We also get a chance to see thousands of unsold films playing New York Film Festivals, often in hopes of attracting a distribution deal.  This is the beat I have covered for four years on my blog and will now periodically report on for Big Hollywood, provided I keep it fresh and snappy. 

Of course, festivals vary widely in terms of size and quality, but the Film Society of Lincoln Center’s annual Rendezvous with French Cinema is a fair place to start.  Every time an Eastern European festival opens, it is like an early Christmas for me, because there will always be several films deeply critical of their former Communist overlords.  Yet, it seems even the French are more even-handed than Hollywood when addressing the Cold War on film.  A case in point was Rendezvous’s opening selection, Christian Carion’s Farewell, which was inspired by the real life case of KGB Colonel Vladimir Vetrov (renamed Grigoriev in the film).  

The disillusioned Colonel was charged with reviewing every last piece of Soviet intel, so he understands full well the extent to which western intelligence agencies were compromised.  As a result, he approaches a bewildered French businessman unconnected to the espionage world to pass on his staggering cache of classified information.  (more…)