THE ZOOKEEPER'S WIFE

Jessica Chastain     Johan Heldenbergh     Daniel Brühl

     The film opens on a sunny morning with Antonina (Chastain) on a bicycle riding through the Warsaw zoo, happily greeting the animals owned by her and her husband Jan (Heldenbergh).  It’s obvious she has a natural way of connecting with them, and when they respond, they seem very human-like.  She holds them, pats them and kisses them, and when there’s a medical emergency, she’s right there helping to make things right again. The Zabinskis actually live in the zoo with their young son and an assortment of animals.

     But it’s 1939, and the idyll will not last, for the Germans have decided to invade Poland.  Bombs start dropping on the zoo, killing many of the animals and barely missing Antonina and her son out on a balcony.  Jan wants Antonina to leave the city, but she refuses, actually wanting instead to have her best friend (who is Jewish) hidden in their villa. 

     Before long, they are visited by a German officer, Lutz Heck (Brühl).  Being a zoologist, he is sympathetic to their plight, informing them that the German leadership wants to use the zoo for their headquarters, so most of the animals must be killed.  He has toured the zoo and realizes that among the animals are exotic species.  He offers to take these to Germany and house them until the war is over.  His stake in it is that he does genetic research and wants to bring back an extinct species through breeding.  Antonina’s husband is away, but being a canny woman, she agrees to the plan, wanting to stay on his good side to protect themselves and what they have.

     Further, the couple proposes to Lutz that they open a pig farm, which would provide food for the German troops.  The plan is submitted to Goebbels in Germany, and upon his approval, pigs are indeed shipped in.  Unbeknownst to Lutz, the Zabinskis will use the farm to rescue and shelter Jews imprisoned in the Jewish Ghetto in Warsaw.

     This fascinating (and almost unbelievable) account is based on a true story written by Diane Ackerman who drew her information from the unpublished diary of Antonina Zabinski.  Angela Workman turned it into a screenplay for the film directed by New Zealander Niki Caro (North Country, Whale Rider).  When WWII films about civilians are as imaginative and eye-catching as this one, it shines a light on the ingenious ways people caught up in some kind of horror survive.  In this case, Antonina and Jan form an effective couple—one using political skill, and the other using his compassion as motivation to act.

     Although not a Meryl Streep in the accent department, Chastain does a reasonable job in speaking English with a Polish accent.  In a way, she is in the same boat as her co-lead Heldenbergh who is from Belgium, although as a European he probably speaks several languages.  Nevertheless, Chastain plays her role to the hilt, needing to charm animals and humans in equal measure.

     I found The Zookeeper’s Wife to be a moving account, not only as a reminder to us (we have so many freedoms) of a significant time in history when freedoms were revoked, but as well a warning about how maintaining freedom is an ongoing effort that needs to be nurtured.

The effects of war on ordinary men, women, and children—and even animals—is patently clear in this film, along with imaginative ways to circumvent its damage.

Grade:  A                                    By Donna R. Copeland

BURNT

Bradley Cooper     Sienna Miller     Daniel Brühl     Omar Sy     Emma Thompson     Uma Thurman     Alicia Vikander

          A chef with a sordid past shows up in New Orleans being as obnoxious as he used to be in the kitchen.  However, he has at least shaken the destructive addictions that got him into trouble and has done self prescribed penance by shucking one million oysters.  Now, he is ready to begin again—in London.  When he gets there, Adam Jones (Cooper) gradually meets up with a number of colleagues from the past, but no one is pleased to see him because of the dastardly things he had done to them.    Nevertheless, (the man has grit) he starts to recruit the very people he had wronged.  It won’t be an easy road and he still has things to learn, but his reputation as a chef and his charm (when he turns it on)—and sometimes behind-the-scenes manipulation—will get him the people he wants in a restaurant that needs rescuing.

         Burnt is a good title for the film as a metaphor referring to a mistake in the kitchen, to friends and colleagues feeling burnt by Adam, and burning one’s bridges before an exit.  The film is about the ups and downs of getting the restaurant, “Adam Jones at The Langham”, on its feet and Adam’s try for a third Michelin star.  Unfortunately, he yells at his staff, is rude with everyone, and has temper tantrums when things aren’t perfect, running the risk of losing valuable employees.  (This over-the-top violent interaction reminds me of Director John Wells’ August:  Osage County of last year.)  But Adam sees a therapist (Thompson) and tentatively starts a supportive friendship to get his self on a better, less destructive track. 

        One of the things I find very frustrating in “food” movies is that we don’t really get to look at the gorgeous dishes prepared.  Isn’t that part of the point in seeing a movie about gourmet restaurants?  The editing of this film by Nick Moore is so jerky we never get to admire the artful dishes that someone has slaved over; and the rapid cuts from one scene to the next and zipping back and forth between two characters’ simultaneous actions can have a dizzying effect.  It may be that the filmmakers are interested in showing us what really goes on in high-end restaurants—a lot of yelling and throwing dishes across the room and at people—but I for one can just as well do without that side of reality, if it is indeed a reflection of reality.

        Bradley Cooper does bring his acting skills to the character, but the script makes him so repulsive, it’s hard to warm up to him.  Adam does become more insightful and respectful of others across time and lets go of some perfectionism, but watching that much narcissism unleashed for most of the film is tiresome.  The characters played by Sienna Miller and Daniel Brühl provide good counterbalance to Adam’s abrasiveness, and they are well cast.  Likewise, Uma Thurman and Emma Thompson bring extra sparks to their cameos.  Another cameo by Alicia Vikander is perfect as a woman who appears to be mysterious at first, but whose identity is gratifyingly explained. 

        Somehow, despite all the talent involved in the making of this film, Burnt just doesn’t fill the appetite.

Burnt:  Not a well seared production.

Grade:  C-        By Donna R. Copeland