“SOMETIMES THE SMALLEST GESTURE
CAN LEAD TO THE GREATEST CHANGE”
From victories, hardships, and atrocities, the historical references of World War II have been well-documented, weaving the tales of thousands into an intricate tapestry of war. From the Europe to the islands of the Pacific Ocean, WWII in encompass many nations that faced violence of war on both the battlefield as well as the survival of civilians. While fought the war was fought on land, sea, and air, the holocaust genocide of the Jewish people, deemed unworthy by Adolf Hitler’s Nazi party, was a horrific event and a black mark of human history. Tortured, dehumanized, and forced into camps, the people of the Jewish faith faced a terrible deprivation during World War II. Some who survived the war, have documented their accounts in books and interviews, presenting their experiences to lay bare for their entire world to see of such a dark period in history. As one could imagine, Hollywood, just like there fascination with war movies of World War II, has developed many movies depicting of such events, including films like Schindler’s List, The Pianist, Life is Beautiful, Defiance, The Boy in the Stripe Pajamas, and Woman in Gold just to name a few. Now, Hollywood has returned their camera lens back on the Holocaust as Lionsgate and director Marc Forester present the film titled White Bird. Does this movie find cinematic appeal within its tale of hope and survival or is it a forgetful endeavor that preys too much on heartfelt manipulation?
THE STORY
Have been expelled from his last school for bullying a disfigured classmate, Julian Albans (Bryce Ghesier) lands at Yates Academy, starting the school year uncertain with bullies and their targets surrounding him. Coming home after his first week, Julian is met with his Grandmere (Helen Mirren), who’s eager to chat with her grandson for the evening. Trying to break youth’s distraught exterior, Grandmere shares the story of her upbringing in France in 1942, where she, as Sara Blum (Ariella Glaser), watched as her peers harassed Julian Beaumier (Orlando Schwerdt), a gimpy classmate who survived polio. With the Nazi continuing to claim control of Europe, including the occupation of France, German forces reach this remote part of the country, separating Sara from her parents, Rose (Olivia Ross) and Max Blum (Ishai Golan), during a frantic escape one day. Evading from Nazi soldiers looking to collect known Jews in the vicinity, Sara is saved by Julian and brings her to his family barn to hide in secret. As time passes, Julian and Sara begin to bond, aided by the boy’s parents, Vivienne (Gillian Anderson) and Jean Paul Beaumier (Jo Stone-Fewings), learning to use their imagination during such dark days, looking for a way to smuggle the young girl out of the area. However, they’re always aware of danger in the country, which continues to be ruled by German occupation, with local school bully, Vincent (Jem Matthews) looking to prove his worth in the Nazi Youth of snuffing out Jews in hiding.
THE GOOD / THE BAD
Borrowing some of my lines from my review of 2017’s The Zookeeper’s Wife….. during my high school years (in my history classes), I learned about World War II and all of its hardships, battles, and complexities that lasted during duration, including the pre-and-post years of the war. While I enjoyed listening to all about the famous battles (what can I say…I’m a history buff), hearing about the Holocaust and how Jewish people were treated during the war by the Nazi party was heartbreaking. In school, I had to read the book Night by Elie Wiesel (a book I do recommend) as well having to write a fictional WWII story for my 10th grade project. I chose to write about a young Jewish boy named Mizer Gola and how his family got caught up in the war. While it was hardly the scholarly work or even on the same writing caliber that I am today, my 10th grade history teacher was impressed with my story of Mizer Gola and said I should become a writer of some kind; something that resonates with me today.
Anyways, with my love of movies, I’ve seeing plenty of WWII movies, including those ones that deal with the Holocaust. While these are usually somewhat depressing movies to watch, they still have a palpable feeling, showcasing the hardships and atrocities (under a cinematic light) that the Jewish people faced during the German Reich. While many will say that Spielberg’s Schindler’s List is a fan-favorite one of this topic, my personal favorite would have to be the 1997 film Life Is Beautiful, which starred Roberto Benigni. While it presented some elements in a comedy satire (somewhat), the film still retains a powerful and thematic story arc of a family caught in the WWII holocaust. If you haven’t seeing it, I do highly recommend it
This brings me back to talking about White Bird (sometimes referred as White Bird: A Wonder Story), a 2024 drama that is the latest film to be set within the World War II era of storytelling. I can’t remember exact when I first heard about this project….I think I saw that article that the movie 2017’s Wonder was going to get a spin-off sequel endeavor of some kind, but was going to be a WWII drama. Upon hearing this, I thought it was a bit odd, especially since Wonder, which is a movie I loved, was set in contemporary modern times and sort of concluded its tale of Auggie and his friends. However, I was blissfully unaware that Wonder’s author (R.J. Palacio) wrote a graphic novel in 2019 titled White Bird, which looked to tell the story of Julian (a character from Wonder) or rather of Julian’s Grandmère when she was a young Jewish girl hidden from the Nazis by a family in France during World War. Piecing it all together, I did find it interesting in that regard and I got my first taste of this upcoming feature when I saw the film’s movie trailer. It definitely looked appealing, and I did like how actress Helen Mirren was going to be attached to the project.
I remember I wanted to see this movie when it was scheduled to be released on September 16th, 2022, but (sadly) White Bird saw multiple delays before getting its final theatrical release date in 2024. It was first pushed back a month (to October 14th, 2022) and then it was quietly removed from the yearly schedule and pushed once more to August 25th, 2023. After that it was then pushed back again to due to the SAG-AFTRA strike, with the movie firmly set on a release date on October 4th, 2024. Sadly, I did not get a chance to see this movie in theaters, but I did get my chance to finally view it when White Bird came out on digital release a few months after that. Now, finishing up the rest of 2024 movie review leftovers, I am finally ready to share my thoughts on this particular film. And what did I think of it? Well, I loved it. Despite a few slight criticisms here and there, White Bird is a beautiful and harrowing cinematic tale of courage and survival in darkened world, carrying the thematic message of 2017’s Wonder within its beating heart as well within its filmmaking integrity. It does play to a degree of familiarity, which can be seeing as too formulaic and predictable, the journey being told is still wholesome and tender to the heart.
White Bird is directed by Marc Forester, whose previous directorial works includes such films as The Kite Runner, A Man Called Otto, and Finding Neverland. Given his efforts in presenting tales of warmth, hardships, and the values of the human spirit in those past endeavors, Forester seems like the most suitable choice to helm such a project like this. To his credit, Forester does do a valiant job in envisioning Palacio story and bringing the graphic novel narrative to the big screen. Like most of his work, Forester makes the whole endeavor feel grounded in realism and sentimentality, walking a sort of “fine line” in between those particular aspects that either one overpowers the other. The end result is usually a moving piece that resonates with the heart and finds the power of the human spirit therein. Such an approach is exactly what White Bird needs, with Forester drumming up such depictions in a rather real-world way, with opposition and oppression, yet never gets too carried away with the wartime efforts. Yes, the movie is set within WWII, but it’s not about the various battles waging across Europe, with Forester focusing the movie on two children and the friendship / journey that must go through during such violent times of Nazi’s invading France. The movie itself is presented with a smaller scale look, always making sure that the camera lens never strays away from either Sara or Julian, which is a really good thing, and keeps everything primarily on them. This makes their journey all the more worthwhile and engrossing to watch. Forester is always good a showcasing the goodness and tenderness within the characters in his movies and does so again in White Bird; showcasing the happiness and friendship amongst two young children and finding the courage to do what is right in the face of hatred.
This is where the classic narrative of the Holocaust comes into works, with Sara and Julian’s tale shows the brutal nature of living under the Nazi occupation in France and the harsh reality that many of the characters are flung into under Germany’s iron grip. The mistreatment and genocide of the Jews is presented in the movie, with Sara and her family being branded as enemies to German forces and living in such a time when their faith is put to the ultimate test. While mostly a family-oriented film for tweens and the like, Forester doesn’t shy away from such acts of cruelty and fear, following Sara and Julian’s stories during such a time and the hardships that they face. Such a cruel and harsh environment of constant fear plays in the backdrop and presents itself in way that juxtaposes the film’s major themes of kindness.
Of course, the thematic message that White Birds wants to convey is clear as day and, while its not subtle (sometimes a bit “on the nose” a bit too much at times) still quite powerful and moving. Naturally, this is where the connection to 2017’s Wonder comes into play, with the theme of kindness is presented and showing on full display. It definitely worked in Wonder and does so again in this film, with Forester making sure such generosity and friendship is felt in some wholesome tender moments, especially when showing Sara and Julian. Such small acts of simply showing kindness goes a long way and those moments are clearly highlighted for a particular reason. This, of course, reflects upon the real world of today, which has shown much hate, anger, and resentment towards those who are “different”. White Bird reinforces its message in the purpose of Grandmere as she recounts to Julian about her life story, with the wayward taking in her tale as a sobering feeling of hardships and showing kindness, how every small, can mean a great deal. Thus, the commentary message of “kindness” is indeed quite palpable and timely in today’ society. With so much hatefulness put into the world, kindness is the key to unlocking humanity’s greatest attribute….love and compassion. Overall, while not the most original tale be told (more on that below), Forester still does quite a commendable job for helming White Bird, encapsulating the true meaning of kindness and tale a Holocaust tale that’s deep within its humanity roots and survival.
In its presentation, White Bird is a beautiful made film that is well-crafted in its realism and believability of France during the Holocaust / Nazi occupation of the country during WWII. While not considerable high, the production budget for the film, which was roughly $20 million, was smartly utilized, with the various setting and location for the movie were meticulously done, which reflected that European small village look and feel circa the 1940s era. Every exterior and interior layout is presented in a way that well-worn and shows the classic “sign of the times” depictions of this time period. Forester and his team do this in a way that works perfectly in the film, setting a quality backdrop in the feature’s story as well as various set pieces, decorations, and costume attires. Even the nearby forest and woods were picturesque at times, pleasing to see such woodland areas that have a particular mystique to them, which aids in the story’s fanciful moments and even so more dramatic sequences of suspense and sadness. Thus, the movie’s “behind the scenes” main team, including Jennifer Williams (production design), Iveta Kyjakova and Nora Sopkova (set decorations), Jenny Beavan (costume design), and Petr Kunes and Jiri Matura (art direction), for their efforts and bringing the film’s world to life with such incredible detail. In addition, the cinematography work by Matthias Koenigswieser should also be praised, producing some slick and very cinematic shots throughout the feature, which certainly does help build upon such theatrical details of camera angles for dramatic poise. Lastly, the film’s score, which was composed by Thomas Newman and Mark Sigel, delivers a solid musical composition that compliments the feature’s sentimentally the right way. Sweeping flourishes of heartfelt melodies and quieter suites for character dialogue are presented in such a beautiful and moving way.
Unfortunately, despite having a heartfelt tale of hope and kindness in a darken world, White Bird does have a few problematic areas that certainly do draw criticism within its own undertaking and execution throughout. How so? Well, for starters, the big problem that I noticed about this film was the overall predictable nature of the story being told. Don’t get me wrong, the tale of Sara Bloom and Julian Beaumier is indeed poignant and moving to see it unfold in the way it does, but it does come at the cost of a formulaic touch. That’s not to say that Forester and his team bring to life a well-made and meaningful tale of two children’s lives (and their families) during the events of the holocaust, which they do, but there isn’t much in the way of projecting anything new or original in this presentation that hasn’t already been done before. What do I mean by that? Well, not beat around the bush about this, but….if you see one Holocaust movie…. you’ve seeing them all. Again, that’s not to say that what is given works and tugs at the emotional drama in a thematic way, which White Bird succeeds immensely, yet it still feels a bit too conventional at times. It is sort of hard to challenge or rather to rewrite movies of this caliber in a different way, especially since most (if not all) have signature recipe of storytelling and in its progression. Thus, it’s almost part of the genetic / theatrical make-up for such tales. Nevertheless, it’s still there and such twists and surprises are rather familiar and retread narratives done before.
What doesn’t help in that aspect is the film’s script, which (again) does have emotional strength within its resolve and examination of the various characters involve, yet feels reveals a proven narrative path that formulaic to the touch. Forester lays the groundwork for an engaging plot of human willpower to survive and showcasing kindness, yet never colors outside the lines of the traditional narrative parameters. Essentially, the movie doesn’t break the commonplace narrative mold within its undertaking, which does create a lot of formulaic flourishes and nuances that does make White Bird, for better or worse, predictable.
In addition, as a very minor complaint, I would’ve liked to see the movie have a bit more continuity ties to Wonder. Of course, the two movies share the similarities that is shared by author R.J. Palacio, but the filmmakers (or rather the studio) wanted to make a Wonder-esque film universe, especially with White Bird sometimes referred as White Bird: A Wonder Story. Yet, I kind of wanted to see a little bit connection between the two. Naturally, the character of Julian Albans acts as connection bridge between the two films, but I would’ve liked to be seeing a bit more continuity effort made to make this particular feel like more like a proper side “spin off” project. What’s presented works, but very loose. I could think of one or two ideas that would’ve help White Bird connect to Wonder.
What definitely helps look behind those particular problematic areas of storytelling is found within the cast of the movie, with White Bird having a small yet collective group that helps bring this character to life and harmonizes with the grounded realism of the characters that they portray. Of course, some of these characterization of the people in the narrative fall prey to the conventional storytelling tropes and cliches at times, yet the actors and actresses help elevate such pitfalls with some quality performances, with a few surprises. Perhaps the most surprising is found within the film’s two principle main characters found in Sara Blum and Julian Beaumier, who are played by actress Ariella Glaser and Orlando Schwerdt. Glaser, who is known for her work in Radioactive and Flavia, isn’t quite the household name and is mostly an unknown talent, yet that sort of works in her favor…and that’s a good thing. With very little to compare her, Glaser makes her appearance in White Bird her biggest role to date (as of writing this review), playing up the innocent schoolgirl life in the begin of the movie and gradually changing into something more seasoned and deeper as the story progresses. She definitely carries (and sells) a lot of film’s dramatic and emotional weight and does quite a commendable job in projecting that through her performance. The character of Sara Blum is (as mentioned) does follow an all-too familiar character path in the feature, so her progression in the story can be seeing as a bit formulaic, yet it is still quite moving and heartwarming nonetheless, which makes her journey is memorable and easy to root for through such trials and tribulations during White Bird’s plot.
Likewise, Schwerdt, who is known for his roles in Incubator, Children of the Corn, and True History of the Kelly Gang, does quite an impressive job in the movie, performing such a meaty character that has plenty of substance beyond his initial appearance. As Julian, Schwerdt showcases the embodiment of the kindness throughout the entire movie, demonstrating the intangible feeling / connection a person has with another kindred spirit and finding the light in the darkness. For his part, Schwerdt handles all his scenes quite well and is clearly visible that he carries the film many a times. Collectively, both Glaser and Schwerdt work well together and have great on-screen chemistry with each other, which certainly does help sell the budding friendship that characters Sara and Julian have with each other.
Looking beyond the two main characters, the movie does shine a cinematic light on two supporting characters found in Vivienne Beaumier, Julien’s mother, and Vincent, Sara and Julian’s classmate who joins the Nazi Youth organization, who are played by actress Gillian Anderson (The X Files and The Crown) and Jem Matthews (Stood Up and A Cousin and a Hood Complex). Anderson acts as one of the two “seasoned” acting veterans on this project (the other being Mirren) and it clearly shows that Forester (and the writers) made sure she was a focus at times, which is technically a good thing. Anderson is quite a gifted actress, and her talents do shine through in this movie as Vivienne Beaumier, showcasing a certain type of parental warmth to her son (Julian) and to her newly adopted daughter (Sara). As for Matthews, he took does a pretty good job in playing his character of Vincent, a young boy who Sara secretly has a crush on the beginning, but shows his true colors when the Nazi occupation is underway. Vincent is clearly the stereotypical bad guy-esque character and is treated as such in the movie, becoming an obstacle threat for Sara and Julian, which does bring up some of the formulaic and conventional narrative bits that I mentioned above. Yet, it is still quite serviceable and works for what White Bird wants to tell. Plus, as mentioned, the character of Vincent shows the deep hatred that lies within the darkest part of the human heart, which can be a reflection in those hearts and minds of those who wish to do harm in such violent acts of hate.
In the present day of the film, the movie showcases the return of Wonder character Julian Albans, who is once again played by actor Bryce Ghesier (A Dog’s Purpose and Walk the Prank). Ghesier does do a pretty good job in showcasing the different character side of Julian between the two films, with the more snarky and obnoxious school boy from Wonder gone and is now replaced with a more subdued and almost depressed / moody teenager who seems lost within himself. Although, he’s only a minor character in the movie by bookending the feature (and a few parts in the middle), it was good to see Ghesier back in playing the character he played in the 2017 film and (like the film itself) shows growth and reflection with his portrayal / mindset in Julian. Alongside, Ghesier is actress Helen Mirren (The Queen and Hundred Foot Journey) who plays Grandmere, Julian’s grandmother and renowned artist. Given the fact that she plays the older version of Sara Blum in the movie, the character of Grandmere (like Julian) bookends White Bird appropriately, yet she does have a little more to offer, especially because she (the character / Mirren) narrates the story being told. Thus, for her part, Mirren, much like Anderson, certainly does anchor the feature the correct way, does a great job in her part, and participation in the film is indeed a welcomed one.
The rest of the cast, including actress Olivia Ross (The Old Guard and Trauma) as Sara’s mother Rose Blum, actor Ishai Golan (The Last Patrol and Ha-E) as Sara’s father Max Blum, actor Stuart McQuarrie (Another Year and 28 Days Later) the headmaster of Sara and Julien’s school Pastor Luc, actress Patsy Ferran (Living and God’s Own Country) as Sara and Julien’s teacher Mlle Petitjean, actor Jordan Cramond (In the Shadows of Distraction and Princess Mirror-Belle) as Jerome, actor Yelisey Kazakevich (Miss Fortune and The Notice) as Henri, and actor Vladmir Javorsky (Cerni baroni and Flower Buds) as cinema owner Georges, make up the minor supporting characters in the movie, with most (if not all) being characters found in the past narrative been told of Sara Bloom’s life. As always, while their screen time may be limited during the focus of the feature’s story, their involvement is nonetheless important, with the acting talent in this grouping doing some great character performances within their respective roles.
FINAL THOUGHTS
Escaping the clutches of Nazi soldiers, Sara Blum finds refuge from the most unlikely person, whom she learns of kindness and generosity in finding hope in such a difficult time in the movie White Bird. Director Marc Forester’s latest film delves into the history of one character, showcasing the hardships of survival during the events of the Holocaust as well as presenting a tale that is wholesome in its values and understanding of showing tender-heartedness to those in need of help. While the movie can be seeing as been predictable and conventional at times (in both story and characters), the picture does right above such criticism, with special thanks to Forester’s direction, a heartfelt drama story, a strong and palpable message, a beautiful presentation, and a solid cast across the board. Personally, I liked this movie. While the movie doesn’t stray too far away from the familiar narrative path and doesn’t really color outside the lines, the tale itself is worth it, revealing a heartfelt journey of two courageous children who are caught up in such terrifying events and showing the kindness of humanity within everyone during such dark ordeals. Plus, I felt that the cast, while relatively, did a fantastic job in the film. Thus, my recommendation for this movie would be favorable “recommended”, especially for those who are looking for beautiful narratives of showcasing the best (and sometimes the worst) in people as well as movies that capture hope from the most innocent of perspectives. In the end, White Bird stands out as a gripping WWII story as well as a gorgeous (and cinematic) reminder that kindness is sometimes the most powerful weapon of all. To quote Mirren’s Grandmere from the movie “Hatred is not normal. Cruelty is not normal. Love is normal. Kindness is normal. But simply knowing this is not enough. It must be shared. It must be practiced. Sometimes the smallest gesture can lead to the greatest change.”….and that’s the true essence of feature.
4.1 Out of 5 (Recommended)
The Official Website for White Bird Link: HERE
Released On: October 4th, 2024
Reviewed On: March 5th, 2025
White Bird is 121 minutes long and is rated PG-13 for some strong violence, thematic material, and language
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