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The Mask of Zorro
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Not to be confused with The Mark of Zorro.
The Mask of Zorro
Theatrical release poster
Directed by
Martin Campbell
Produced by
Doug Claybourne
David Foster
Screenplay by
John Eskow
Ted Elliott
Terry Rossio
Story by
Ted Elliott
Terry Rossio
Randall Jahnson
Based on
Zorro
by Johnston McCulley
Starring
Antonio Banderas
Anthony Hopkins
Catherine Zeta-Jones
Stuart Wilson
Matt Letscher
Music by
James Horner
Cinematography
Phil Méheux
Edited by
Thom Noble
Production
company
Amblin Entertainment
Distributed by
TriStar Pictures
Release date
July 17, 1998 (1998-07-17)
Running time
137 minutes
Country
United States
Language
English
Budget
$95 million
Box office
$250.3 million
The Mask of Zorro is a 1998 American swashbuckler film based on the character of the masked vigilante Zorro created by Johnston McCulley. It was directed by Martin Campbell and stars Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, and Stuart Wilson. The film features the original Zorro, Don Diego de la Vega (Hopkins), escaping from prison to find his long-lost daughter (Zeta-Jones) and avenge the death of his wife at the hands of the corrupt governor Rafael Montero (Wilson). He is aided by his successor (Banderas), who is pursuing his own vendetta against the governor's right-hand man while falling in love with de la Vega's daughter.
Producer Steven Spielberg had initially developed the film for TriStar Pictures with directors Mikael Salomon and Robert Rodriguez, before Campbell signed on in 1996. Salomon cast Sean Connery as Don Diego de la Vega, while Rodriguez brought Banderas in the lead role. Connery dropped out and was replaced with Hopkins, and The Mask of Zorro began filming in January 1997 at Estudios Churubusco in Mexico City, Mexico. The film was released in the United States on July 17, 1998 to critical and commercial success. The Legend of Zorro, a sequel also starring Banderas and Zeta-Jones and directed by Campbell, was released in 2005, but did not fare as well as its predecessor.[1]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
3.3 Lawsuit
3.4 Music
4 Historical references
5 Release
5.1 Home media
6 Reception
6.1 Critical response
6.2 Box office
6.3 Accolades
7 Comic book adaptation
8 References
9 External links
Plot[edit]
In 1821, Don Diego de la Vega (Anthony Hopkins), a Californio nobleman, fights against the Spanish in the Mexican War of Independence as Zorro, a mysterious swordsman who defends the Mexican peasants and commoners of Las Californias. Don Rafael Montero (Stuart Wilson), the corrupt governor of the region, learns of De La Vega's alter ego, and attempts to arrest him. De la Vega's wife Esperanza is killed during the scuffle. Montero imprisons de La Vega and takes his infant daughter, Elena, as his own before returning to Spain. Twenty years later Montero returns to California as a civilian, alongside Elena (Catherine Zeta-Jones) who has grown into a beautiful woman and resembles her late mother. Montero's reappearance motivates de La Vega to escape from prison. He encounters a thief, Alejandro Murietta (Antonio Banderas) who, as a child, once did Zorro a favor. De la Vega decides that fate has brought them together, and agrees to make Alejandro his protégé, grooming him to be the new Zorro. Alejandro agrees to undergo de La Vega's training regimen in Zorro's lair underneath the ruins of his family estate in order to be able to take revenge on Captain Harrison Love (Matt Letscher) Montero's right-hand man, who was responsible for killing Alejandro's brother, Joaquin.
While still being trained, Alejandro steals a black stallion resembling Tornado from the local garrison. De La Vega scolds Alejandro, claiming that Zorro was a servant of the people, not a thief and adventurer. He challenges Alejandro to gain Montero's trust instead. Alejandro poses as a visiting nobleman named Don Alejandro del Castillo y García, with de la Vega as his servant, and attends a party at Montero's hacienda. At the party he gains Elena's admiration and enough of Montero's trust to be invited to a secret meeting where several other noblemen are present. Montero hints at a plan to retake California for the Dons by buying it from General Santa Anna, who needs money to fund his upcoming war with the United States.
Montero takes Alejandro and the noblemen to a secret gold mine known as "El Dorado", where peasants and prisoners are used for slave labor. Montero plans to buy California from Santa Anna using gold mined from Santa Anna's own land. De la Vega uses this opportunity to become closer to Elena, though he identifies himself as "Bernardo" the servant, learning that Montero told Elena that her mother died in childbirth. While walking in a market, Elena meets the woman who was her nanny who tells Elena her parents' real identity. De la Vega sends Alejandro, dressed as Zorro, to steal Montero's map leading to the gold mine. Zorro duels Montero, Love, and their guards at the hacienda. When Zorro escapes, Elena attempts to retrieve Montero's map from the swordsman, but he seduces her, leading to a passionate kiss before he flees.
Terrified of Santa Anna's retribution if he discovers that he is being paid with his own gold, Montero, at Love's urging, decides to destroy the mine and kill the workers. De la Vega tells Alejandro to release the workers on his own so that de La Vega can reclaim Elena. Alejandro sets off, feeling betrayed by Diego's vendetta. De la Vega corners Montero at the hacienda and reveals his identity, but Montero captures him by threatening Elena. As he is taken away, de la Vega tells Elena the name of the flowers, romneya, she recognized upon her arrival in California, convincing her that he is her father. She releases de la Vega from his cell and they proceed to the mine, where Alejandro and de la Vega respectively defeat and slay Love and Montero. Elena and Alejandro free the workers before the explosives go off, and then find the mortally wounded de la Vega. He makes peace with Alejandro before dying, passing the mantle of Zorro to him, and gives his blessings for his marriage to Elena. In a closing sequence they are shown to be living together after rebuilding the de la Vega family señorío with a son named Joaquín, in honor of Alejandro's brother.
Cast[edit]
Antonio Banderas portrayed Zorro.
Antonio Banderas as Alejandro Murrieta / Zorro: Despite claims made by several media outlets and Antonio Banderas,[2] Banderas was not the first Spanish actor to portray Zorro. Spanish actor José Suárez was cast as Zorro in the 1953 film Lawless Mountain, and Spanish actor Carlos Quiney (aka Charles Quiney) portrayed Zorro in three films: Zorro's Latest Adventure (1969), Zorro, Rider of Vengeance (1971) and Zorro the Invincible (1971) (though Banderas was still the first Spanish actor to portray Zorro in a Hollywood production).[3][4][5] Banderas was paid $5 million for the role. The character of Alejandro Murrieta was conceived as the fictional brother of the real-life Joaquin Murrieta, making the character either Mexican or Chilean.[6] To prepare for his role, Banderas practiced with the Olympic fencing team in Spain for four months, before studying additional fencing and swordsmanship with Anthony Hopkins and Catherine Zeta-Jones.[7] The three were trained by Bob Anderson during pre-production in Mexico, spending 10 hours a day for two months specifically on fight scenes from the film.[8] "We used to call him Grumpy Bob on the set, he was such a perfectionist," director Martin Campbell reflected. "He was incredibly inventive, and also refused to treat any of the actors as stars. They would complain about the intensity of the training, but having worked with him there's nobody I'd rather use."[9] During interviews for The Lord of the Rings: The Fellowship of the Ring, Anderson rated Banderas the best natural talent he had worked with.
José María de Tavira portrays a young Alejandro Murrieta.
Anthony Hopkins as Don Diego de la Vega / Zorro: Hopkins was cast in December 1996, one month before filming began.[10] Hopkins, known for his dramatic acting, took up the role over his enthusiasm to be in an action film.[11]
Catherine Zeta-Jones as Elena Montero: The actress signed on in November 1996, when Spielberg saw her performance in the Titanic miniseries and recommended her to Campbell.[12] Despite being a Welsh actress portraying a Latina character, Zeta-Jones discovered similarities between her "volatile" Celtic temper and the Latin temperament of Eléna.[13] Izabella Scorupco, who worked with Campbell on GoldenEye, and Judith Godrèche both screen tested for the part.[12] Zeta-Jones credits The Mask of Zorro as her breakthrough in entering A-list recognition.[13][14]
María and Mónica Fernández Cruz portray Elena de la Vega (infant).
Stuart Wilson as Don Rafael Montero: Armand Assante had initially been cast in the role, but dropped out due to scheduling conflicts with The Odyssey.[15] Stuart Wilson, who Campbell previously directed in No Escape, was cast in Assante's place four months after.[16]
Matt Letscher as Captain Harrison Love
Tony Amendola as Don Luiz
Pedro Armendáriz, Jr. as Don Pedro
Victor Rivers as Joaquín Murrieta
Diego Sieres as Young Joaquín Murrieta
L. Q. Jones as Three-fingered Jack
Julieta Rosen as Esperanza De La Vega, Don Diego's beloved wife and Elena's mother
Maury Chaykin as Prison Warden
Production[edit]
Development[edit]
Robert Rodriguez (pictured) cast Antonio Banderas as Zorro before dropping out as director. He was replaced by Martin Campbell one month later.
In October 1992, TriStar Pictures and Steven Spielberg's Amblin Entertainment were planning to start production on Zorro the following year, and hired Joel Gross to rewrite the script after they were impressed with his adaptation of The Three Musketeers.[17][18] At the time, Spielberg was producing Zorro with the potential to direct.[19] Gross completed his rewrite in March 1993, and TriStar entered pre-production, creating early promotion for the film that same month at the ShoWest trade show.[20][21] By December 1993, Branko Lustig was producing the film with Spielberg, and Mikael Salomon was attached as director.[22] In August 1994, Sean Connery was cast as Don Diego de la Vega, while Salomon stated that the rest of the major cast would be Hispanic or Latino. Pre-production proceeded even further in August when Salomon compiled test footage for a planned April 1995 start date.[23]
Connery and Salomon eventually dropped out, and in September 1995, Robert Rodriguez, fresh from the success of Desperado, signed to direct with Antonio Banderas, who had also starred in Desperado, playing the title role.[24] TriStar and Amblin had been surprised by Rodriguez's low-budget filming techniques for his action films, El Mariachi and Desperado, and shifted away from their initial plans with Salomon to make a big-budget version of Zorro.[25] Spielberg had hoped Rodriguez would start filming in January 1996 for a Christmas release date, but the start date was pushed back to July.[26][27][28] The release date was later moved to Easter 1997.[29] Rodriguez pulled out of the film' in June 1996 over difficulties coming to terms with TriStar on the budget. The studio projected a range of $35 million, while Rodriguez wanted $45 million. They both attempted to compromise when Rodriguez lowered it to $42 million, but the studio refused and set $41 million as their highest mark.[29] Banderas remained with the production, and Martin Campbell signed on later that month, turning down the chance to direct Tomorrow Never Dies.[30] The finished screenplay would be written by John Eskow, Ted Elliott and Terry Rossio, based on a story by Elliott, Rossio, and Randall Jahnson.[31]
Filming[edit]
The principal photography for the film began in Mexico on January 27, 1997 on a $60 million budget.[8][16] The Mask of Zorro was mostly shot at Estudios Churubusco in Mexico City.[32] Production stalled for four days in February when the director, Martin Campbell, was hospitalized for bronchitis. Filming resumed in Tlaxcala, three hours east of Mexico City, where the production crew constructed the Montero hacienda and town set pieces.[33] Sony sent David Foster to join the project as a producer to help fill the void left by Steven Spielberg, Walter F. Parkes, and Laurie MacDonald, who were busy running DreamWorks. Foster and David S. Ward, who went uncredited, re-wrote some scenes;[34] the troubled production caused The Mask of Zorro to go $10 million over its budget.[34][35] In December, the producers were frustrated by customs agents when some props and other items, including Zorro's plastic sword, were held for nine days.[32] During the post-production phase, Spielberg and Campbell decided that Diego de la Vega's death in the arms of his daughter was too depressing.[36] The ending, where Alejandro and Eléna are happily married with their infant son, was added three months after filming had ended.[37]
Lawsuit[edit]
On January 24, 2001, Sony Pictures Entertainment filed a lawsuit in United States District Court, Central District of California, Western Division, against Fireworks Entertainment Group, the producers of the syndicated television series Queen of Swords. Sony alleged copyright infringement and other claims, saying the series "copied protectable elements from [the] 'Zorro' character and 'Zorro' related works". On April 5, 2001, U.S. District Judge Collins denied Sony's motion for a preliminary injunction, noting "that since the copyrights in [Johnson McCulley's 1919 short story] The Curse of Capistrano and [the 1920 movie] The Mark of Zorro lapsed in 1995 or before, the character Zorro has been in the public domain." As to specific elements of The Mask of Zorro, the judge found that any similarities between the film and the TV series' secondary characters and plot elements were insufficient to warrant an injunction.[38]
Music[edit]
The Mask of Zorro: Music from the Motion Picture
Soundtrack album by James Horner
Released
July 7, 1998
Recorded
1997–1998
Genre
Soundtrack
Length
74:47
Label
Sony Classical Records
Epic Soundtrax
Producer
Jim Steinman
Simon Rhodes
Tony Hinnigan
James Horner
James Horner soundtracks chronology
Deep ImpactString Module Error: Match not foundString Module Error: Match not found The Mask of Zorro Back to TitanicString Module Error: Match not foundString Module Error: Match not found
Singles from The Mask of Zorro: Music from the Motion Picture
"I Want to Spend My Lifetime Loving You"
Released: October 9, 1998
Professional ratings
Review scores
Source
Rating
AllMusic
Empire
Filmtracks
SoundtrackNet
James Horner was hired to compose the film score in September 1997.[39] Horner's work on The Mask of Zorro was influenced by Miklós Rózsa's score from El Cid.[40] The soundtrack, released by Sony Classical Records and Epic Soundtrax, was commercially successful and propelled by the rising profile of the Latin heartthrobs of Marc Anthony and Australian singer Tina Arena. Their duet, "I Want to Spend My Lifetime Loving You", plays in the closing credits of the film and was released as a single in Europe.[41] The song went #3 on the French singles and #4 on the Dutch singles charts.[42][43]
Historical references[edit]
The Mask of Zorro and its sequel The Legend of Zorro incorporate certain historical events and people into their narrative. Antonio Banderas' character, Alejandro Murrieta, is a fictional brother of Joaquin Murrieta, a real Mexican outlaw who was killed by the California State Rangers led by Harry Love (portrayed in the film as Texas Army Captain "Harrison Love") in 1853. The confrontation in the film takes place more than a decade earlier, in 1841. The capture of Murrieta's right-hand man Three-Fingered Jack by Love was also historical; however, the real person was a Mexican named Manuel Garcia rather than an Anglo-American.[44] As he did in the movie, the actual Harry Love preserved both Murrieta's head and Jack's hand in large, alcohol-filled glass jars.[45] The opening sequence is set during the aftermath of the Mexican War of Independence, and an original ending on the DVD includes an appearance by Antonio López de Santa Anna, who is only mentioned in the finished film.[citation needed]
Release[edit]
The Mask of Zorro was initially set for release on December 19, 1997 before the release date was changed to March 1998.[46] There was speculation within the media about whether TriStar changed the date in an attempt to avoid competition with Titanic. In reality Zorro had encountered production problems that extended its shooting schedule. In addition, Sony Pictures Entertainment, TriStar's parent company, wanted an action film for its first quarter releases of 1998.[35] The release date was once again pushed back, this time to July 1998, when pick-ups were commissioned.[47] The delay from March to July added $3 million in interest costs.[48]
To market Zorro, TriStar purchased a 30-second advertising spot at Super Bowl XXXII for $1.3 million.[48] Sony, who had been known for their low-key presence at the ShoWest trade show, showed clips from the film, while actors Antonio Banderas and Anthony Hopkins presented a panel at the conference on May 10, 1998.[49] The studio also attached Zorro's trailer to prints of Godzilla.[50] Sony launched an official website in June 1998. Internet marketing was an emerging concept in the late-1990s, and Zorro was Sony's first film to use VRML.[51]
The Mask of Zorro caught the attention of European Royalty with the film's foreign premieres. Spain's King Juan Carlos I, Queen Sophia, and Princess Elena attended the first Royal premiere in Madrid in seven years. On December 10, 1998, a Royal Command Performance for Zorro was toplined by Prince Charles and his sons.[52]
Home media[edit]
The Mask of Zorro was released on VHS and DVD on December 1, 1998 by Columbia TriStar Home Video. The film was released on Blu-ray on December 1, 2009 by Sony Pictures.[citation needed]
Reception[edit]
Critical response[edit]
Based on 69 reviews aggregated by Rotten Tomatoes, 81% of the critics enjoyed The Mask of Zorro, giving it an average score of 7.1/10.[53] Metacritic gave the film an average score of 63/100, based on 22 reviews.[54] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.[55]
Richard Schickel of Time magazine praised Zorro as a summer blockbuster which paid tribute to the classical Hollywood swashbuckler films. "The action in this movie, most of which takes the form of spectacular stunt work performed by real, as opposed to digitized, people," Schickel stated, "is motivated by simple, powerful emotions of an old-fashioned and rather melodramatic nature."[56] Zorro exceeded Roger Ebert's expectations, who was surprised by the screenplay's display of traditional film craftsmanship. "It's a reminder of the time when stunts and special effects were integrated into stories, rather than the other way around."[57] Ebert later called The Mask of Zorro "probably the best Zorro movie ever made."[58] Despite giving credit to Anthony Hopkins for his masculine portrayal of an older Zorro, Mick LaSalle, writing in the San Francisco Chronicle, found that the actor's "performance presents a slight problem: The film asks us to believe that no one has figured out that Zorro and his real-life persona are the same person, even though they are the only guys in Mexico who talk with a British accent."[59]
Todd McCarthy of Variety found the film's length to be "somewhat overlong" and lacking "the snap and concision that would have put it over the top as a bang-up entertainment, but it's closer in spirit to a vintage Errol Flynn or Tyrone Power swashbuckler than anything that's come out of Hollywood in quite some time."[40] In his review for Rolling Stone magazine, Peter Travers criticized the casting choices for the Mexican roles, which included Banderas, a Spaniard, as well as Hopkins and Zeta-Jones, who are both Welsh. Disappointed with the film's entertainment value, Travers also expected the film to be a failure with audiences.[60] Internet reviewer James Berardinelli compared the tone and style of The Mask of Zorro to producer Steven Spielberg's Raiders of the Lost Ark. "While The Mask of Zorro isn't on the same level, it's not an altogether ridiculous comparison. Even though Zorro doesn't feature the non-stop cliffhanger adventure of Raiders," Berardinelli continued, "there's still plenty of action, tumult, and derring-do." He was undecided whether the film would be a box office success, and that it would depend on the on-screen chemistry between Banderas and Zeta-Jones.[61] In one of the film's most popular scenes, Alejandro renders Eléna topless with a flurry of sword slashes. One critic placed it on his list of "Erotic [Film] Scenes in the 90s".[62]
Box office[edit]
The Mask of Zorro was released in the United States on July 17, 1998 in 2,515 theaters, earning $22,525,855 in its opening weekend.[63] The film dropped from its number one position in the second week with the releases of Saving Private Ryan and There's Something About Mary.[64] The Mask of Zorro eventually earned $94,095,523 within the US, and $156,193,000 internationally, coming to a worldwide total of $250,288,523.[63] With the commercial success of the film, Sony sold the TV rights of Zorro for $30 million in a joint deal to CBS and Turner Broadcasting System (TBS).[65]
Accolades[edit]
Awarding Body
Award
Nominee
Result
Academy Awards[66][67] Best Sound Effects Editing Dave McMoyler Nominated
Best Sound Kevin O'Connell, Greg P. Russell, and Pud Cusack Nominated
British Academy Film Awards (BAFTAs)[68] Best Costume Design Graciela Mazón Nominated
Golden Globe Awards[69] Best Motion Picture – Musical or Comedy Nominated
Best Actor – Motion Picture Musical or Comedy Antonio Banderas Nominated
MTV Movie Awards[70] Best Breakthrough Female Performance Catherine Zeta-Jones Nominated
Best Fight Antonio Banderas, Catherine Zeta-Jones Nominated
Saturn Awards[71] Best Action/Adventure/Thriller Film Nominated
Best Actress Catherine Zeta-Jones Nominated
Best Costumes Graciela Mazón Nominated
Comic book adaptation[edit]
Image Comics: The Mask of Zorro (August 1998)[72]
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Jump up ^ Image Comics: The Mask of Zorro at the Comic Book DB
External links[edit]
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The Boy in the Striped Pyjamas (film)
From Wikipedia, the free encyclopedia
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The Boy in the Striped Pyjamas
Theatrical release poster
Directed by
Mark Herman
Produced by
David Heyman
Screenplay by
Mark Herman
Based on
The Boy in the Striped Pajamas
by John Boyne
Starring
Vera Farmiga
David Thewlis
Rupert Friend
David Hayman
Asa Butterfield
Music by
James Horner
Cinematography
Benoît Delhomme
Edited by
Michael Ellis
Production
companies
BBC Films
Heyday Films
Distributed by
Miramax Films
Release date
12 September 2008 (2008-09-12)
Running time
94 minutes
Country
United Kingdom[1]
United States[1]
Language
English
Budget
$12.5 million[2]
Box office
$44.1 million[3]
The Boy in the Striped Pyjamas (released as The Boy in the Striped Pajamas in the United States; see spelling differences) is a 2008 British-American historical period drama based on the novel of the same name by Irish writer John Boyne.[4] Directed by Mark Herman, produced by BBC Films and Heyday Films, and distributed by Miramax (North America) and Walt Disney Studios Motion Pictures (International), the film stars Vera Farmiga, David Thewlis, Asa Butterfield, and Jack Scanlon. It was released on 12 September 2008 in the United Kingdom.
The Holocaust drama explores the horror of a World War II Nazi extermination camp through the eyes of two 8-year-old boys; Bruno (Butterfield), the son of the camp's Nazi commandant, and Shmuel (Jack Scanlon), a Jewish inmate.
Contents
[hide]
1 Plot
2 Cast
3 Reception
3.1 Critical response
3.2 Historical accuracy
3.3 Accolades
4 References
5 See also
6 External links
Plot[edit]
The film opens with the quote, "Childhood is measured out by sounds and smells and sights, before the dark hour of reason grows," by John Betjeman. A young boy named Bruno lives with his family in Berlin, in Nazi Germany during the period of the Holocaust. He learns that his father Ralf has been promoted, due to which their family, including Bruno's mother Elsa and sister Gretel, relocate to the countryside. Bruno hates his new home as there is no one to play with and very little to explore. After commenting that he has spotted people working on what he thinks is a farm in the distance, he is also forbidden from playing in the back garden.
Bruno and Gretel get a private tutor, Herr Liszt, who pushes an agenda of antisemitism and nationalist propaganda. As a result, Gretel becomes extremely fanatical in her support for the Third Reich, to the point of covering her bedroom wall with Nazi propaganda posters and portraits of Adolf Hitler. Bruno is confused as the Jews he has seen, in particular the family's Jewish servant Pavel, do not resemble the caricatures in Liszt's teachings.
One day, Bruno disobeys his parents and sneaks off into the woods, eventually arriving at an electric barbed wire fence surrounding a camp. He befriends a boy his own age named Shmuel. The pair's lack of knowledge on the true nature of the camp is revealed: Bruno thinks that the striped uniforms that Shmuel, Pavel, and the other prisoners wear are pyjamas and Shmuel believes his grandparents died from an illness during their journey to the camp. Bruno starts meeting Shmuel regularly, sneaking him food and playing board games with him. He eventually learns that Shmuel is a Jew and was brought to the camp with his father and mother.
Prisoner's clothing from Sachsenhausen concentration camp
One day, Elsa discovers the reality of Ralf's assignment after Lieutenant Kurt Kotler lets slip that the black smoke coming from the camp's chimneys is due to the burning corpses of Jews. She confronts Ralf, disgusted and heartbroken. At dinner that night, Kotler admits that his father had left his family and moved to Switzerland. Upon hearing this, Ralf tells Kotler that he should have informed the authorities of his father's disagreement with the current political regime as it was his duty. The embarrassed Kotler then becomes infuriated with Pavel for accidentally spilling a glass of wine and violently beats him, presumably to the point of killing him. The next morning the maid, Maria, is seen scrubbing the blood stains.
Later that day, Bruno sees Shmuel working in his home. Shmuel is there to clean wine glasses because they needed someone with small hands to do it. Bruno offers him some cake and willingly Shmuel accepts it. Unfortunately, Kotler happens to walk into the room where Bruno and Shmuel are socialising. Kotler is furious and yells at Shmuel for talking to Bruno. In the midst of his scolding, Kotler notices Shmuel chewing the food Bruno gave him. When Kotler asks Shmuel where he got the food, he says Bruno offered the cake, but Bruno, fearful of Kotler, denies this. Believing Bruno, Kotler tells Shmuel that they will have a "little chat" later. Distraught, Bruno goes to apologise to Shmuel, but finds him gone. Every day, Bruno returns to the same spot by the camp but does not see Shmuel. Eventually, Shmuel reappears behind the fence, sporting a black eye. Bruno apologises and Shmuel forgives him, renewing the friendship.
After the funeral of his mother, who was killed in Berlin by an enemy bombing, Ralf tells Bruno and Gretel that their mother suggests that they go to live with a relative because it is not safe there. Their mother suggests this because she does not want her children living with their murderous father. Shmuel has problems of his own; his father has gone missing after those with whom he participated in a march did not return to the camp. Bruno decides to redeem himself by helping Shmuel find his father. The next day, Bruno, who is due to leave that afternoon, dons a striped prisoners' outfit and a cap to cover his unshaven hair, and digs under the fence to join Shmuel in the search. Bruno soon discovers the true nature of the camp after seeing the many sick and weak-looking Jews, much to his shock. While searching, the boys are taken on a march with other inmates by Sonderkommandos.
At the house, Gretel and Elsa discover Bruno's disappearance. After they discover the open window he went through, Elsa bursts into Ralf's meeting to alert him that Bruno is missing. Ralf and his men mount a search. Led by a dog tracking Bruno's scent they find his discarded clothing outside the fence. Elsa and Gretel are following along behind. They enter the camp, looking for him; Bruno, Shmuel and the other inmates are stopped inside a changing room and are told to remove their clothes for a "shower". They are packed into a gas chamber, where Bruno and Shmuel hold each other's hands. A Schutzstaffel soldier pours some Zyklon B pellets inside, and the prisoners start panicking, yelling and banging on the metal door. When Ralf realises that a gassing is taking place, he cries out his son's name, and Elsa and Gretel fall to their knees in despair and mourn Bruno. The film ends by showing the closed door of the now-silent gas chamber, indicating that all prisoners, including Bruno and Shmuel, are dead.
Cast[edit]
Asa Butterfield as Bruno
Jack Scanlon as Shmuel, a young Jew sent to a camp
Vera Farmiga as Elsa, Bruno's mother
David Thewlis as Ralf, Bruno's father
Amber Beattie as Gretel, Bruno's older sister
Rupert Friend as Lieutenant Kurt Kotler
David Hayman as Pavel
Sheila Hancock as Natalie, Bruno's grandmother
Richard Johnson as Matthias, Bruno's grandfather
Cara Horgan as Maria
Jim Norton as Herr Liszt
Reception[edit]
Critical response[edit]
The Boy in the Striped Pyjamas has a 63% approval rating on Rotten Tomatoes, based on 135 reviews, with an average rating of 6.2/10. The site's critical consensus reads, "A touching and haunting family film that deals with the Holocaust in an arresting and unusual manner, and packs a brutal final punch of a twist."[5] On Metacritic, the film has a normalized score of 55 out of 100, based on 28 critics, indicating "mixed or average reviews".[6]
James Christopher, of The Times, referred to the film as "a hugely affecting film. Important, too."[7] Manohla Dargis, of The New York Times said the film "trivialized, glossed over, kitsched up, commercially exploited and hijacked [the Holocaust] for a tragedy about a Nazi family."[8]
Historical accuracy[edit]
Some critics have criticised the premise of the book and subsequent film. Reviewing the original book, Rabbi Benjamin Blech wrote: "Note to the reader: There were no 9-year-old Jewish boys in Auschwitz – the Nazis immediately gassed those not old enough to work."[9] Rabbi Blech affirmed the opinion of a Holocaust survivor friend that the book is "not just a lie and not just a fairytale, but a profanation." Blech acknowledges the objection that a "fable" need not be factually accurate; he counters that the book trivialises the conditions in and around the death camps and perpetuates the "myth that those not directly involved can claim innocence," and thus undermines its moral authority. Students who read it, he warns, may believe the camps "weren't that bad" if a boy could conduct a clandestine friendship with a Jewish captive of the same age, unaware of "the constant presence of death."[9]
Kathryn Hughes, whilst agreeing about the implausibility of the plot, argues that "Bruno's innocence comes to stand for the wilful refusal of all adult Germans to see what was going on under their noses."[10] In the Chicago Sun-Times, Roger Ebert says the film is not a reconstruction of Germany during the war, but is "about a value system that survives like a virus."[11]
Accolades[edit]
Year
Award
Category
Recipient(s)
Result
2008 British Independent Film Awards[12] Best Actress Vera Farmiga Won
Best Director Mark Herman Nominated
Most Promising Newcomer Asa Butterfield Nominated
2009 Premio Goya Best European Film The Boy in the Striped Pyjamas Nominated
Irish Film and Television Awards[13] Best International Film Nominated
Young Artist Awards[14] Best Leading Performance (International Feature Film) Asa Butterfield & Jack Scanlon Nominated
References[edit]
^ Jump up to: a b "The Boy in the Striped Pajamas (2008)". British Film Institute. 30 December 2016.
Jump up ^ "The Boy in the Striped Pyjamas (2008)". Box Office Mojo. Retrieved 31 July 2014.
Jump up ^ "The Boy in the Striped Pajamas (2008) – Financial Information". The Numbers. Retrieved 13 June 2011.
Jump up ^ Vilkomerson, Sara (31 March 2009). "On Demand This Week: Lost Boys". The New York Observer. Archived from the original on 7 December 2009. Retrieved 4 July 2011.
Jump up ^ "The Boy in the Striped Pyjamas (2008)". Rotten Tomatoes. Retrieved June 12, 2016.
Jump up ^ "The Boy in the Striped Pyjamas Reviews". Metacritic. Retrieved June 12, 2016.
Jump up ^ Christopher, James (11 September 2008). "The Boy in the Striped Pyjamas Review". The Times. Archived from the original on 30 August 2009. Retrieved 30 August 2009.
Jump up ^ Dargis, Manohla (7 November 2008). "Horror Through a Child's Eyes". The New York Times. Retrieved 30 August 2009.
^ Jump up to: a b Blech, Benjamin (23 October 2008). "The Boy in the Striped Pajamas". Aish. Archived from the original on 30 August 2009. Retrieved 27 February 2017.
Jump up ^ Hughes, Kathryn (21 January 2006). "Educating Bruno". The Guardian. London. Retrieved 27 February 2017.
Jump up ^ Ebert, Roger (5 November 2008). "The Boy in the Striped Pajamas". Chicago Sun-Times. Retrieved 25 June 2013.
Jump up ^ "BIFA 2008 Nominations". British Independent Film Awards. Retrieved 30 December 2016.
Jump up ^ "2009 Winners—Film Categories". The Irish Film & Television Academy.
Jump up ^ "2009 Nominations & Recipients". Young Artist Awards.
See also[edit]
The Day the Clown Cried
External links[edit]
The Boy in the Striped Pyjamas at Box Office Mojo
The Boy in the Striped Pyjamas on IMDb
The Boy in the Striped Pyjamas at Rotten Tomatoes
Production notes
[hide]
v
t
e
Films directed by Mark Herman
Blame It on the Bellboy (1992)
Brassed Off (1996)
Little Voice (1998)
Purely Belter (2000)
Hope Springs (2003)
The Boy in the Striped Pyjamas (2008)
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WorldCat Identities
VIAF: 230335176
BNE: XX4862942
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Boy_in_the_Striped_Pyjamas_(film)&oldid=806889760"
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The Boy in the Striped Pajamas

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value: الصبي في البيجامة المخططة (فيلم) – Arabic

value: Zolaqlı pijamalı oğlan (film, 2008) – Azerbaijani

value: El noi del pijama de ratlles (pel·lícula) – Catalan

value: Chlapec v pruhovaném pyžamu (film) – Czech

value: Der Junge im gestreiften Pyjama (Film) – German

value: El niño con el pijama de rayas (película) – Spanish

value: La knabo en striita piĵamo (filmo) – Esperanto

value: The Boy in the Striped Pyjamas (filma) – Basque

value: پسری در پیژامه راه‌راه (فیلم) – Persian

value: The Boy in the Striped Pyjamas – Galician

value: 줄무늬 파자마를 입은 소년 (영화) – Korean

value: Զոլավոր գիշերազգեստով տղան (ֆիլմ) – Armenian

value: The Boy in the Striped Pyjamas (film) – Indonesian

value: Il bambino con il pigiama a righe (film) – Italian

value: הנער בפיג'מת הפסים – Hebrew

value: ბიჭი ზოლიან პიჟამაში – Georgian

value: Ала кийимчен бала (тасма) – Kyrgyz

value: Gutten i den stripete pysjamasen (film) – Norwegian

value: The Boy in the Striped Pyjamas (filme) – Portuguese

value: Мальчик в полосатой пижаме (фильм) – Russian

value: The Boy in the Striped Pyjamas (movie) – Simple English

value: کوڕە بێجامە خەتخەتەکە (فیلم) – Central Kurdish

value: Poika raidallisessa pyjamassa (elokuva) – Finnish

value: ద బాయ్ ఇన్ ద స్ట్రిప్డ్ పైజమాస్ – Telugu

value: Хлопчик у смугастій піжамі (фільм) – Ukrainian

value: 穿條紋衣的男孩 – Chinese

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