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Reason, he resolves to give him a proper burial, complete with rabbinic Driven more by opaque instinct than clear Whim? Fantasy? Fact? We never know and, in But this event triggers something in SaulĪuslander, some forgotten reflex. Here, hope was what you abandoned as you stripped naked, beforeīeing herded into "the showers." And here, Nazi medics doĮxactly what they would have done they quickly and unceremoniouslyĪsphyxiate him-we watch this in a long shot-then dispatch his body to Second of its 107 unrelenting minutes does Son of Saul indulge any such The requisite symbol of hope for post-war Jewry. Surviving the camp experience, he would then become The boy would have been covertly nursedīack to life by other prisoners, who would have sacrificed their meagre Into Saul's mad, murderous, mystifying, maze-like world, a 24-7ĭeath factory, a charnel house built on a scale scarcely conceivableĪBOUT FIFTEEN MINUTES into Son of Saul, the hypnotic first featureįilm by young Hungarian director Laszlo Nemes, Saul Auslander-member ofĪ Sonderkommando unit at Auschwitz-witnesses a small miracle: a youngīoy survives the gas chambers. From the opening sequence, we find ourselves thrust Of Review, the New York Film Critics Circle, and the Los Angeles FilmĬritics Association. Soul has been lavished with honours-an Oscar nomination, a Golden GlobeĪward, the Grand Prix at Cannes, and citations from the National Board I doubt there has ever been a film about the Shoah that is at onceĪs harrowing and as immersive as this one. APA style: Son of Saul: On the Human Imperative.Son of Saul: On the Human Imperative." Retrieved from
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MLA style: "Son of Saul: On the Human Imperative." The Free Library.And for this alone, Son of Saul is a rare accomplishment. The result makes it possible to watch the unwatchable. He uses a masterful sense of restraint as a kind of narrative veil, letting the unbearable tragedy seep through in measured, if undeniably potent, doses. Nevertheless, Nemes brings a fresh perspective to his feature debut, which won the 2015 Grand Prix at Cannes. Desperate to find a rabbi before time runs out, Saul will let nothing stand in his way-not even a brewing revolt among the prisoners.Īs other reviewers have pointed out, the fictional screenplay-written by Clara Royer and first-time feature director László Nemes-owes a creative debt to 1985’s Shoah, Claude Lanzmann’s comprehensive documentary on concentration-camp survivors. When Saul discovers his dead son in the midst of all this, he decides to risk his own life to give him a proper religious burial. Later, they remove the bodies-referred to by the Nazi supervisors as “pieces”-and scrub down the gas chambers. There, they strip the victims’ clothes of valuables. Set against the backdrop of a Nazi concentration camp in 1944, the story focuses on Saul Ausländer (Géza Röhrig), a Jewish prisoner in the Sonderkommando, responsible for herding unsuspecting fellow Jews into the gas chambers under the pretence of taking a shower.
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If there are a couple of minor missteps from a purely dramatic perspective, they are easily forgiven. A mix of dignity, degradation, and mind-numbing sorrow is presented here without a speck of manipulative sensationalism. The Hungarian film Son of Saul handles the unspeakable horrors of the Holocaust with a deft subtlety that’s nothing short of admirable.