When Hitler Stole Pink Rabbit (2019) Movie Review
Judith Kerr, a German refugee who settled in Britain after escaping Nazi Germany as a young girl, penned the semi-autobiographical children's novel "When Hitler Stole Pink Rabbit" in 1971. She wrote it in response to her son's Hollywood-influenced misunderstanding of her childhood, sparked by watching "The Sound of Music." Her son thought her escape was similar to the film, prompting Kerr to write a more realistic child's perspective on Hitler's rise to power and the Jewish refugee experience.
Now, Caroline Link has adapted Kerr's novel into a film, preserving the story faithfully while adding a touch of movie gloss. Released in the U.S. 18 months after its German debut, the film caters to those nostalgic for Kerr's novel. The casting and period details are praised, but the film's gentler pace and multilingual storytelling make it more appealing to adults than children. It shares a tone with Link's previous Oscar-winning film, "Nowhere in Africa," softening the harsh realities of history for a wider audience.
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A highlight of the new film is the casting of young Anna, the main character, played by Riva Krymalowski. Her portrayal captures the essence of Kerr's illustrations and showcases a child actor's ability to convey thoughtfulness without coming across as too cute or overly clever.
We meet 9-year-old Anna in Berlin in 1933, where she hides from boys in Nazi uniforms at a fancy-dress party. Her older brother Max, wearing a Zorro mask, protects her. For Anna, Nazis are just costume villains, but as Hitler's election approaches, her parents, especially her journalist father Arthur, who criticizes the Nazi Party, become more concerned. In fear of losing his passport, Arthur hastily escapes to Switzerland, arranging for his wife Dorothea and children to follow. Anna sees this as a novel vacation, unaware that she might not return home to Berlin anytime soon.
While Kerr's straightforward writing effectively conveyed the mix of terror and excitement during these sudden departures, Link's polished approach doesn't evoke the same level of tension. The film's rhythm is even, lacking a sense of imminent threat, despite heart-to-heart talks between Anna and her father. The second chapter, set in Switzerland, features picturesque landscapes and village life, creating a lighter tone. The third chapter, in Paris, introduces more challenges as the family experiences a shift from wealth to poverty due to Arthur's job struggles.
Link compresses events but captures everyday challenges in isolated vignettes, such as buying a pencil without knowing the language or enjoying an unexpected meal on a budget. The film addresses anti-Semitism and class conflict with a heavier hand, but the natural family dynamic remains a consistent grounding factor. Authentic production design and costumes contribute to the film's realism, although the score is criticized for being overly expressive. Despite missing some intangible atmospherics from the book, Link's film retains the scale and sweep of Kerr's story.