| Cast overview, first billed only: | |||
| Christina Ricci | ... | Suzie | |
| Oleg Yankovskiy | ... | Father | |
| Claudia Lander-Duke | ... | Young Suzie | |
| Danny Scheinmann | ... | Man in Suit | |
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Anna Tzelniker | ... | Mother of Man in Suit |
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Barry Davis | ... | Man in Village |
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Thom Osborn | ... | Man in Village |
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Frank Chersky | ... | Man in Village |
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Daniel Hart | ... | Man in Village |
| Peter Majer | ... | Man in Village | |
| Hana Maria Pravda | ... | Grandmother | |
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Ayala Meir | ... | Child |
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Abraham Hassan | ... | Child |
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Lloyd Martin | ... | Child |
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Uri Meir | ... | Child |
In this historical drama with music, a gifted singer (Oleg Yankovsky) from a Jewish village in Russia travels to the United States in 1927, leaving behind his young daughter Fegele (Claudia Lander-Duke). Father has promised his family that he'll send for Fegele as soon as he can, but authorities make life hard for the Jewish population, and Fegele is forced to flee with relatives to England. Fegele is adopted by a British family, which renames her Suzie and raises her with little acknowledgment of her ethnic heritage. As she grows to adulthood, Suzie (Christina Ricci) becomes a gifted vocalist and gets a job singing in a nigh club revue in Paris. Before she leaves England, her adopted family presents Suzie with a picture of her father, still believed to be living in America, and she decides she will go to the United States some day and find him. In Paris, Suzie makes friends with Lola (Cate Blanchett), a Russian showgirl in the market for a rich husband. Lola becomes involved with ...
The only reason I did not rate this film a "10" was that the Christina Ricci character (Feygele/Suzie), who is supposed to be a superb singer in the era before microphones, was not dubbed by someone who can actually sing. (Ricci, gifted actress that she is, can't, and to a musician, that's a problem). Other than that, I loved this movie. Ricci and Depp, as impossible lovers who just happen to be members of the two peoples most persecuted by the Nazis (a Jew and a Gypsy), are both perfection in their roles. John Tuturro and Cate Blanchett, as (respectively) an Alpha-male Italian tenor enamored of Mussolini, and Suzie's fellow dancer/confidante seduced by the tenor and his Fascist tendencies, are such compelling characters that they almost needed their own separate movie. The cinematography is beautiful throughout, and the sense of history, of the sweep of time, is wonderfully evoked. Last but not least, the score of the film memorably weaves together an old Yiddish lullaby with "Je crois entendre encore," the great tenor aria from Bizet's "Pearl Fishers." Both melodies share the same rhythmic and harmonic skeleton, and the film score reveals and celebrates it. A wonderful musical reflection on the theme of the film in general. Wait until the end of the movie to see what I mean -- the music explains it all.