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Read the Foreword
Writer and director Edward Zwick reveals the challenges and personal significance of making a film adaptation of Nechama Tec's Defiance. Among his extensive film credits, Zwick is best known for his direction of Blood Diamond and The Last Samaurai.
An inevitable rite of passage in any Jewish childâs informal initiation to adulthood is to study, with grim fascination, the grainy, out-of-focus images of hollow-eyed survivors in striped pajamas, the amateur photos of corpses piled high in freshly dug pits, or possibly the 16 mm handheld GI footage of living skeletons clinging to barbed wire during the liberation of the camps. Such grisly ic! onography of passivity and victimization was, during my childhood, and probably is still today, not only an article of faith, but also a source of secret shame. As an assimilated suburban kid growing up in the Midwest, I had thrilled to World War II stories about John Kennedy and PT 109 (Cliff Robertson in the movie version), the leatherneck marines at Guadalcanal (John Wayne), the flying fortresses over Germany (Gregory Peck), and so many more. In feeble contrast, Jewish heroes were the ancient biblical warriors evoked by uninspired Sunday school teachers--Bar Kochba and Judah Macabee wielding spears and jawbones, or young David with his little slingshot.
So when my friend and collaborator, Clay Frohman, came to me with a book called Defiance, I was skeptical. "Not another Holocaust movie," I said. What was to be accomplished, I asked myself, in telling yet another story of familiar and unspeakable horror, especially when an entire canon of literature, not! to mention films both documentary and fiction, have already d! ramatize d it in the most exacting and harrowing detail? Whatâs more, the greatest historians and philosophers of our time have devoted entire careers to plumbing the roots and magnitude of its evil. What could I possibly add?
But Clay was insistent. Here, he said, was something fresh and utterly provocative. And so, somewhat grudgingly, I plunged into Nechamaâs Tecâs remarkable book and found myself deeply moved. That was ten years ago. And the feelings I had upon that first reading have only grown stronger with time. To read of the Bielski brothers and their fight to create a safe haven in the midst of a hell-on-earth evokes in me something utterly primitive and deeply personal, a roiling wave of fear, awe, humility, and admiration. And outrage, too--that such a story was not better known.
Here, clutching captured Schmeisser submachine guns and "potatomasher" grenades, were Jewish fighters whose deeds were as stirring and brave as any I had ever encountered. A! nd whatâs more, it was all true. In an age when the term "hero" has been so overused as to become meaningless, the Bielskis remind us that real heroism is not the stuff of comic books. Rather, it is a set of decisions, sometimes impulsive, often made by simple men of whom nothing of the sort could ever have been expected. Their story is not simply one of courage or fortitude in the face of adversity; it includes any number of daunting moral decisions--whether to seek vengeance or to rescue, how to re-create a sense of community among those who have lost everything, how to maintain hope when all seems forsaken. Read more
Edward Zwick
Santa Monica, Calif., 2008
The color version of Astro Boy is better animated than the 1963 original, which relied heavily on cycles and reused footage. But the stolid timing robs the action scenes of the punch they should pack. The English dub is equally flat, with little inflection or acting to communicate the characters' emotions. The faded prints have been restored to th! eir original colors. Characters are called by their English names in the dialogue but by their Japanese names in subtitles (e.g., Dr. Boynton becomes Dr. Tenma). Among the extras are several deleted scenes, including one of Tezuka introducing "Astro's First Love." Tezuka devotees and fans who grew up watching the color version on TV will want this set, but the original, black-and-white series remains the definitive Astro Boy. (Unrated, suitable for ages 7 and older: violence, alcohol use) --Charles SolomonArm Cannon Astro Boy action figure is from Astro Boy The Movie released in 2009. Figure comes with a detachable blue light/laser that will fit into either arm cannon. Figure measures approx. 3.75 inches tall. Figure is articulated with movable arms, elbows, legs, and knees. Age 4+
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