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In Darkness

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In DarknessSony Pictures Classics

"Say something once, why say it again?" - David Byrne

"Never forget!" - the Jews

In a statement included in the press notes to Agnieszka Holland's newest film In Darkness, the noted director of Europa, Europa, Washington Square and some key episodes of The Wire muses "one may ask if everything has now been said on this subject." In the word of Omar Little, "indeed."

Based on a 2009 memoir (as well as a researched historical text published in 1991,) In Darkness tells the story of a group of Jews who survived the Holocaust by spending 14 months living in sewers beneath the city of Lvov. It is heartbreaking and harrowing, to be certain, but falls victim to the very thing Holland seems most worried about: it is a retread. Not one of the emotional beats (and there are many) in In Darkness isn't something you've seen before, and probably done a little better.

It isn't for lack of trying. Holland's lead character - the "righteous gentile" to use preferred nomenclature - is somewhat of a low-rent Oskar Schindler. His initial interest in helping "his Jews" initiates strictly from a profit motive. By the end of the picture, he's practically wearing a halo.

His name is Socha and he's a sewer inspector and a petty thief. His knowledge of the dark, byzantine city beneath the city is an essential element to his successful burglary career. In time it will be his key to becoming a humanitarian. This moral gray area is one of Holland's major themes and she dares to mirror it a bit by portraying some of the Jews as more than just pitiable victims, but actual human beings. As such, sometimes they lash out - even against their paid savior, Socha. When they argue about being fleeced, Socha has an excuse to label them money-grubbing Jews. Chancy material? Maybe, if it all weren't so (and please, God, forgive me for saying so) dull.

Perhaps if I were young and the horrors of the Holocaust were new to me I'd be more moved by In Darkness' drama. Instead I felt like I was "filmspotting." Where's the scene where the young woman confesses to be pregnant? Ah, here's the scene where the young woman confesses to be pregnant. Where's the scene where the town police chief/drinking buddy almost catches our hero red handed? Ah, here's the scene where. . .well, you get the drift.

So now that I've crapped all over this noble film effort, let me at least pay some lip service to the things the movie does right. In Darkness does a bang-up job establishing the geography of the sewer system. The handful of safe rooms, replete with fetid, ploinking water and ubiquitous rats create a definite sense of place. (It's gross, to be sure, but love, of course, finds a way. During the handful of dirty, stinking lovemaking scenes I had the following argument on loop in my head: "Ew! Who could do that? Well, I guess passions run high in such situations.")

Some of the most striking images come at the point where the sewer meets the river, a snowbound gate with the promise of fresh air and the threat of being seen.

Only hardest of hearts could ever watch a movie like In Darkness and not be moved, particularly for a person of Jewish heritage such as myself. But as someone whose job it is to see a lot of movies - and to champion the ones that advance the form - I can't deny that it is difficult to work up too much enthusiasm about this one.

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