Based on Anne Frank's diary, and the stage play that was adapted from it: In Nazi-occupied Holland, Otto Frank and his family have decided to go into hiding, because of the increasing persecutions against Jews. The businessman Kraler and his assistant Miep prepare a hiding place in the rooms above their place of business, and arrange for the Franks and another family, the Van Daans, to stay there. Later on, they are joined by the dentist Dussel. Together, they try to avoid detection while hoping for Holland to be liberated by the Allies, but even meeting basic needs can become a challenge, and even minor incidents could present a grave risk. Written by
Anne Frank created aliases for her roommates in the diary, feeling that some of her revelations would prove embarrassing and harmful to them should they survive the war. The "Van Daan" family was really named Van Pels, and the surname of Mr. "Dussel" the dentist was really Pfeffer. See more »
After Anne Frank spells milk over the coat, she starts to clean the chair and puts the glass back on the table. It vanished in the next shot. See more »
No words are adequate enough to express the emotion that I feel each time I see this harrowing account of Jewish people hiding from Nazi terror in Holland.
I read that Director George Stevens assembled his cast to live in those quarters for a certain amount of time so as to get the idea of what confinement might actually mean.
Joseph Schildkraut gave a memorable performance. Where was his Oscar nomination? Were Academy voters afraid that if he had been nominated, he might have defeated Charlton Heston in "Ben-Hur?"
Ed Wynn brought comic relief with a gem of a dramatic performance as the condemned dentist. His losing the Oscar for best supporting actor was a slap in the face, especially for his many years in show business. Similarly, Lou Jacobi gave a tremendous performance as Shelley Winters' long suffering husband.(Who remembers Hugh Griffith in "Ben-Hur?") Few remember that he was the best supporting actor that year for the latter film.
What a great musical score reaching its height as the "fugitives" are about to be rounded up. That farewell kiss between Richard Beymer and Millie Perkins was wonderful.
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