| Cast overview, first billed only: | |||
| Judi Dench | ... |
Narrator
(voice)
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Lory Cahn | ... |
Herself
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Kurt Fuchel | ... |
Himself
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Eva Hayman | ... |
Herself
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Ursula Rosenfeld | ... |
Herself
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Lorraine Allard | ... |
Herself
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Jack Hellman | ... |
Himself
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Lore Segal | ... |
Herself
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Robert Sugar | ... |
Himself
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Hedy Epstein | ... |
Herself
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Norbert Wollheim | ... |
Himself
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Nicholas Winton | ... |
Himself
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Franzi Groszmann | ... |
Herself
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Alexander Gordon | ... |
Himself
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Bertha Leverton | ... |
Herself
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For nine months prior to World War II, in an act of mercy unequalled anywhere else before the war, Britain conducted an extraordinary rescue mission, opening its doors to over 10,000 Jewish and other children from Germany, Austria, and Czechoslovakia. These children, or Kinder (sing. Kind), as they came to be known, were taken into foster homes and hostels in Britain, expecting eventually to be reunited with their parents. The majority of them never saw their families again. Written by Jwelch5742
The Testament of holocaust survivors is always worth hearing, lest we forget the depths to which humanity proved it was capable of sinking. In fact, the scale of the tragedy is almost incomprehensible to a privileged modern mind, hence the appeal of stories like 'Schindler's List', which focus on a few who were luckier than most: they give us an insight into the horror, without totally disconnecting from our own, more fortunate, experience. 'Into the Arms of Strangers' likewise tells a more human story than the bleakest truths, namely that of Jewish children taken in by Britain before the war. It's not a bad film, and yet to me it was not the most powerful account of the holocaust I've seen in spite of its human scale. Perhaps this is because the worst fate suffered by the rescued - the death of the families they left behind - was a burden gradually assumed, not directly witnessed, and the survivor's stories are thus that little bit more polished and analytical than in the most compelling documentary - whereas perceptions of events are static (and thus retain their quality of immediacy), our interpretations of our feelings are influenced by what happens afterwards, and even our own stories become slightly second-hand over time. Or perhaps this impression is merely created by the film-makers' slightly heavy-handed use of background music and images. In spite of the above, this is still a highly poignant and important film. We who live today should count, and guard, our blessings.