Worth: $15.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
Leo Sutter, Adelaide Clemens, Stellan Skarsgård, Stephen Dorff, Connie Nielsen
Intro:
… emotional… heartbreaking… war movie painted in shades of David Lean.
Taking into account the increased usage of ‘nazi’ being hurled on the internet and ironic exploitation movies on the subject, including Tarantino’s Inglourious Basterds and Taika Waititi’s Jojo Rabbit, it can be argued that the impact of the horrors of the Holocaust is now lost on many. There was certainly no non-diegetic David Bowie soundtrack back in 1939-45 to dampen the horrors of World War 2 and make us all have warm feelings. While music does play a large part in I’ll Find You, from veteran director Martha Coolidge, her intent is clear in trying to show a sombre part of history without gimmicks.
Having met as children at a prestigious music school in Lodz, Poland, Jewish violinist Rachel (Australia’s own Adelaide Clemens) and Catholic opera singer Robert (Leo Suter) have been inseparable until the latter moves to Italy. Returning in 1939, Robert is distraught to find that Rachel is being pushed into marriage to David (Jacob Ifan), who her family see as a much more suitable suitor. Rachel and Robert have always felt their different religions would eventually tear them apart, but the impending marriage weighs heavy on them both.
Eventually deciding to elope, their plans are scuppered when Lodz is swiftly occupied by the Germans. While Robert is able to walk the streets, Rachel is forced into hiding with her family before eventually being taken away by the Nazis. Here then, is the film’s modus operandi, as Robert makes the titular claim of tracking down his love by joining forces with rebellious opera singer, Benno Moser (Stellan Skarsgård).
And unfortunately, this is when we basically see Clemens say goodbye to the film, as Suter furrows his brow and clenches his fists across Europe. That’s not to say that his story isn’t interesting, but after narratively hopping back and forth between our two leads for nearly half the film, it seems like a missed opportunity not to continue. It’s a decision that is just about forgiven when we get to one of the film’s more emotional scenes, when Robert is booked to play at a concentration camp and sees one of his violinists for the first time. It’s a heartbreaking moment that resonates long after the film is over.
A film like this, hinges on the central romance, and while Clemens is certainly the stronger of the two leads, her and Suter work well together. We believe they are meant to be, which makes it all the easier to engage with Robert’s mission. Those looking for an antidote to CGI tentpoles hitting the multiplexes on a near hourly basis, will certainly find something to embrace in this war movie painted in shades of David Lean.
