Several years after his childhood friend, a violin prodigy, disappears on the eve of his first solo concert, an Englishman travels throughout Europe to find him.
When I recommend a film, specifically a Holocaust drama, I am often asked this question; “Is it too graphic?” Of course, when one thinks of a film that is centered on the Holocaust, one imagines the unimaginable. But not this time. “The Song of Names” is a haunting film that is driven not by war or graphic images, but inspired by music.
“The Song of Names” is the story of Dovidl Rapoport, a young, gifted Jewish violinist from Poland. Because of the forty-year time span, the two leading characters are portrayed by three different actors as we are transported by flashback to 1938 and forward to 1985, with the opening scene set in post-war London. With great anticipation and fanfare, an audience and orchestra are awaiting the debut of Rapoport in a grand concert hall. This auspicious event was designed to launch his brilliant career. Instead, the young violinist vanishes without a trace.
Back to 1938 and 9-year-old Dovidl is invited to live with Gilbert Simmonds, a music publisher and his Christian family in London. Gilbert recognizes Dovidl’s extraordinary potential and vows to keep him safe in England while his father returns to Poland. Gilbert’s son Martin, who is the same age as Dovidl, is at first antagonistic towards the young musician, but within a short time, the two become quite close – best friends, as close as brothers. The family bends over backward to accommodate Dovidl, even keeping kosher to fulfill his religious obligations.
As the boys grow up, Gilbert dotes on Dovidl, which fosters some resentment on Martin’s part. The London concert, meant to be a momentous occasion – a crowning achievement – instead is a calamity and financial disaster that bankrupts Gilbert who passes away shortly thereafter. Martin is understandably bitter and spends his days obsessively searching for Dovdl.
At this point, we flash forward to the adult Martin (Tim Roth) who is frantic in his pursuance of Dovdl and seeking answers. Martin’s quest to locate Dovidl (now played by Clive Owen) is ultimately triumphant, but at what cost? He learns the painful truth about that fateful evening and the personal consequences of the war.
Based on Norman Lebrecht’s prize-winning novel of the same name, “The Song of Names” was adapted for the screen by Jeffrey Caine (“The Constant Gardener”), whose parents perished in the Holocaust. The producer, Robert Lantos (the Hungarian-born son of Holocaust survivors), made a brilliant decision to bring François Girard (“The Red Violin” and “Thirty Two Shorts about Glenn Gould”) on board as director. “This film lives or dies on the emotional impact of its music,” says Lantos. “I thought it wouldn’t be enough to have a terrific film director who just left the music to the composer. It had to be someone who is as familiar with the language of classical music as he is with the language of cinema, so he could work with a composer from a place of knowledge and conviction. And that led me to François. I doubt there are many other filmmakers in the world who are as comfortable and familiar with classical music as he is.”
“The Song of Names” was the first feature film to receive permission to shoot on the Treblinka memorial. Lantos thought it was essential that they film there. At Treblinka, they came upon a large irregular shaped rock, engraved with two words, in several languages: “Never Again.” Says Lantos: “For me, those two words encapsulate the most important reason a film like this needs to be made.”
And it’s the reason “The Song of Names” needs to be seen (and heard)! The film is a slow burn, but if you stick with it, you’ll be rewarded with a magnificent musical performed by internationally acclaimed violinist Ray Chen. Daniel Mutlu, Senior Cantor at Manhattan’s Central Synagogue, sings the part of the Rebbe live on camera. Oh, and bring tissues. At the screening I attended, there was nary a dry eye in the house.
Opens Friday, January 17th at the Angelika Film Center in Dallas and Plano, on Friday, January 24th it opens at the
Magnolia at the Modern in Ft. Worth and at the AMC Firewheel 18 in Garland and the AMC Grapevine Mills 30
