The Search (1948)
3/4
Starring: Ivan Jandl, Montgomery Clift, Aline MacMahon, Jarmila Novotna
Not Rated (probable PG-13 for Thematic Material)
At first glance, one would think that once a war is over, everyone just packs up and goes home. As if it's an extended camping trip or something. Sure bombs dropped and people died, but once the surrender happens, life goes back to normal. Of course it isn't that simple. Families get separated and must find each other (if possible), lives and governments must be rebuilt, and so on. Few films take the time to acknowledge this. "Black Book" did so, albeit tangentially. But Fred Zinnemann's "The Search" focuses on this and therein lies its core drama.
After the end of WWII, Europe is in tatters. Buildings are destroyed, families are ripped apart, and people cling to the faint hope that they can rebuild. The US Army takes in children that are orphaned or otherwise separated from their parents. One such child is Karol Malik (Jandl), a young boy so traumatized that he can barely speak. On the way to temporary housing, the children escape. Karol's friend drowns, but Karol evades capture but the well-meaning GIs. He is found, hungry and alone, by a likable soldier named Steve (Clift), who takes him in. Meanwhile, his mother Hanna (Novotna) is looking for him.
"The Search" contains many scenes and themes of real power. The scenes of the children trapped in a situation without their parents or any sense of safety is truly wrenching. And the relationship between Steve and Karol (whom Steve calls "Jim" since the boy is so uncommunicative), while underwritten, is nicely developed. At the same time, there are elements that just don't work. The narration that occasionally peppers the first act is a case in point. It's largely unnecessary, redundant and occasionally patronizing. And for a situation this bleak, the motherly narration is really inappropriate.
1948 was the coming out year for Montgomery Clift, one of Hollywood's most esteemed Method actors. While "Red River" made him an overnight star, "The Search" was actually filmed first, and it garnered him his first of four Oscar nominations (none of which he won). For the most part, Clift underplays the role quite nicely, although there are a few moments where he pushes too hard. His co-star, newcomer Ivan Jandl, is equal to him. His performance is a little raw, but I didn't mind. Karol's English is limited, so that enhanced the character's impact. His emotions feel real, which is more important. Also worth mentioning is Austrian opera singer Jarmila Novotna, who plays Karol's mother Hanna. Her love for her son is palpable.
In a way, "The Search" feels like Zinnemann is throwing things at the screen and seeing what sticks. Yet the film feels too well-thought out to be labeled as such. Either the screenplay isn't up to snuff or Zinnemann doesn't find a successful way to execute some scenes. The ending also feels unfinished. It's satisfying, but it doesn't deal with its ramifications in a satisfactory way. Still, it is worth seeking out.
Starring: Ivan Jandl, Montgomery Clift, Aline MacMahon, Jarmila Novotna
Not Rated (probable PG-13 for Thematic Material)
At first glance, one would think that once a war is over, everyone just packs up and goes home. As if it's an extended camping trip or something. Sure bombs dropped and people died, but once the surrender happens, life goes back to normal. Of course it isn't that simple. Families get separated and must find each other (if possible), lives and governments must be rebuilt, and so on. Few films take the time to acknowledge this. "Black Book" did so, albeit tangentially. But Fred Zinnemann's "The Search" focuses on this and therein lies its core drama.
After the end of WWII, Europe is in tatters. Buildings are destroyed, families are ripped apart, and people cling to the faint hope that they can rebuild. The US Army takes in children that are orphaned or otherwise separated from their parents. One such child is Karol Malik (Jandl), a young boy so traumatized that he can barely speak. On the way to temporary housing, the children escape. Karol's friend drowns, but Karol evades capture but the well-meaning GIs. He is found, hungry and alone, by a likable soldier named Steve (Clift), who takes him in. Meanwhile, his mother Hanna (Novotna) is looking for him.
"The Search" contains many scenes and themes of real power. The scenes of the children trapped in a situation without their parents or any sense of safety is truly wrenching. And the relationship between Steve and Karol (whom Steve calls "Jim" since the boy is so uncommunicative), while underwritten, is nicely developed. At the same time, there are elements that just don't work. The narration that occasionally peppers the first act is a case in point. It's largely unnecessary, redundant and occasionally patronizing. And for a situation this bleak, the motherly narration is really inappropriate.
1948 was the coming out year for Montgomery Clift, one of Hollywood's most esteemed Method actors. While "Red River" made him an overnight star, "The Search" was actually filmed first, and it garnered him his first of four Oscar nominations (none of which he won). For the most part, Clift underplays the role quite nicely, although there are a few moments where he pushes too hard. His co-star, newcomer Ivan Jandl, is equal to him. His performance is a little raw, but I didn't mind. Karol's English is limited, so that enhanced the character's impact. His emotions feel real, which is more important. Also worth mentioning is Austrian opera singer Jarmila Novotna, who plays Karol's mother Hanna. Her love for her son is palpable.
In a way, "The Search" feels like Zinnemann is throwing things at the screen and seeing what sticks. Yet the film feels too well-thought out to be labeled as such. Either the screenplay isn't up to snuff or Zinnemann doesn't find a successful way to execute some scenes. The ending also feels unfinished. It's satisfying, but it doesn't deal with its ramifications in a satisfactory way. Still, it is worth seeking out.
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