Whilst the classical Hollywood formula is undoubtably a conventionally successful method to film production, it clashes tonally with the narrative issues explored in The Book Thief. Any scene involving snow (and there are plenty of them) is visually stunning, but is indicative of the film’s biggest problem: it is simply too Hollywood.
All of these factors should have made for a wonderful, touching film, but sadly the attempt ultimately falls flat.Īesthetically, the film hits every mark – the scenery in particular glows on screen and seems almost unreal, mirroring the beautifully abstract way in which Liesel is encouraged to describe the world around her. After a lengthy and hugely publicised casting call, the role of Liesel, the young protagonist, was awarded to Sophie Nélisse, already critically acclaimed for her debut performance in the French-Canadian film Monsieur Lazhar. The adult roles were snapped up by two of the biggest talents of the moment: Geoffrey Rush and Emily Watson. With locations ranging from great lakes, snow-filled basements to bombed out streets, there was obvious potential for exceptional cinematography and mise-en-scene. The much beloved story is set in war-torn Nazi Germany, and features a family quietly undermining the principles of Adolf Hitler and his enforcers. Once the announcement was made that ‘The Book Thief’, the New York Times Bestseller written by Markus Zusak, was to be adapted into a feature film by 20 th Century Fox, there was great potential for the project. Cast: Sophie Nélisse, Geoffrey Rush, Emily Watson
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