… but it has long annoyed me when such movies play fast and loose with the truth, especially when the additions are not improvements – which is often the case.
Last night I watched a movie based on a Holocaust memoir I’d read, and I’d also seen the author’s interview with Steven Spielberg’s Shoah Foundation. That’s really why I watched the 2011 movie In Darkness in the first place, because it’s based on that family’s experience hiding in the sewer system of Lvov for over a year.
Krystyna Chiger (later Keren) was only a young child when her family was forced into the Lvov ghetto, and then when the ghetto was liquidated they hid in Lvov’s sewer system where they remained for fourteen months. That’s the story the movie purports to tell, the same story in her book The Girl In the Green Sweater.
But it’s not the same story, although it sticks to the general outlines. Although the movie was one of the Oscar nominees for Best Foreign Language Film (it’s a joint Polish/German/Canadian effort), and also received a whole bunch of awards from European groups, IMHO it’s only about one-tenth the film it could have been, using the same source material. And that left me in a state of frustration at many moments while watching it, yelling at the screen things like, “That didn’t happen!” and “What about [fill in the blank]?”
The writers saw fit to add a bunch of exceptionally dramatic – sometimes cheesy and cliched – scenes that didn’t happen, and left out or minimized many of the most dramatic true events that did happen. They also threw in a host of completely gratuitous sex scenes that added nothing but more cliches.
Just to take one of many examples where the movie played down scenes when the truth would have been far more suspenseful and cinematic, we have the way the Jews managed to get fresh water every day. According to Krystyna’s book, there was a broken pipe that dripped fresh water, but it was several kilometers away from their hiding place and could only be reached by her father (or another of the men) crawling through a narrow pipe, carrying the kettle that would hold the water in his teeth the whole way. Now, we don’t need to see the entire trek, which must have taken a long time. But in the only scene in the movie that refers to the process, we see someone (is he walking or crawling? The scene is so fleeting I don’t remember) for a couple of seconds going to get the water, and to the best of my recollection he was carrying the receptacle in his hands.
That’s it for the water. No drama at all. Why oh why? And this is just one of many instances like this, including the film’s climactic scene – which I won’t describe, in case you want to watch it.
Instead, we have the repetitive sex scenes, and a few made-up action scenes as well as the action scenes that really did happen. The film also skips the main motive of the Polish Catholic man who is most instrumental in helping them – which is that he’s led a fairly dissolute life, wants to go straight, and believes that helping the Jews will save his soul. It’s an exceptionally moving fact – at least, I think so – but the movie leaves it out entirely or in one brief sentence makes a sort of oblique joke out of it.
The title In Darkness makes sense; the sewers were very dark indeed, so dark that when the survivors emerged after fourteen months, their vision was temporarily affected (although the movie shows their vision as blurred when in fact they saw things shifted to red, as though through a red filter). But it makes for a mostly dark movie, and even the scenes shot outside the sewers – and there are quite a few – are somewhat monochrome.
But there would have been a simple remedy for that. Leave out some of the hokey action scenes and the sex scenes, and give us some of the people’s previous life before the Nazis. Introduce them to us as they were before the war, and let us get to know them before they become nearly-indistinguishable from each other in the dark of the sewers. The contrast – which we learn from Krystyna’s book and her interview – was stark, and would have made good cinema. But we get none of that. We first meet these people when they’re about to escape the ghetto and go down to the sewers, and I (who knew pretty much who the actors were supposed to be) still spent at least the first half hour trying to figure out their identities.
Speaking of the characters’ missing backstories, in the film the little girl who plays Krystyna wears the green sweater of the book’s title throughout the film. But it has no significance for us; we never learn that the sweater was knitted by her grandmother. Here’s the actual story, not a bit of which is told in the movie:
The green sweater, which her paternal grandmother knit before the German invasion of Poland, was a treasured object. Two years before, Kristine had watched that beloved grandmother being loaded onto a truck and deported, likely to the nearbyBelzec death camp. When her grandmother had waved goodbye, a Nazi guard had bashed her head with the butt of a rifle.
The sweater was a precious link to prewar love for the child, from a grandparent who’d been cruelly ripped away, and the garment is now in the Holocaust Museum in DC.
And then there was the time element, which is practically ignored in the movie. The movie only discloses at the very end of the film, in titles, that the length of their sewer stay was fourteen months. Why couldn’t the viewers have known that while watching the movie, with some sort of periodic time stamps now and then to let us know how long this was taking? Instead, we have no idea, and it could just as well have been fourteen days or fourteen weeks as fourteen months.
Now that I’ve said all this, I bet it’s not a bad movie if you don’t know the story in advance. But I suggest this video in which the beauteous Krystyna (now Kristine) tells the story, or her book to which I’ve linked above. And yes, she seems to still be alive now, at around ninety years of age. A strong constitution, I guess. The video interview is from 1998, when she was 63 (and as usual, I suggest that if she speaks too slowly for you, you can watch at faster speed by adjusting the settings). It’s long but I think it’s very rewarding:

