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Title: The Grey Zone (2001)
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| Cast overview, first billed only: | |||
| David Arquette | ... | Hoffman | |
| Velizar Binev | ... | Moll | |
 |
David Chandler | ... | Max Rosenthal |
| Michael Stuhlbarg | ... | Cohen | |
|
|
George Zlatarev | ... | Lowy (as Georgy Zlatarev) |
|
|
Dimitar Ivanov | ... | Old Man |
| Daniel Benzali | ... | Simon Schlermer | |
| Allan Corduner | ... | Dr. Miklos Nyiszli | |
| Steve Buscemi | ... | 'Hesch' Abramowics | |
| Harvey Keitel | ... | SS-Oberscharführer Erich Mußfeldt | |
|
|
Henry Stram | ... | SS-Hauptsturmführer Josef Mengele |
|
|
Kamelia Grigorova | ... | Girl |
|
|
Lisa Benavides-Nelson | ... | Anja (as Lisa Benavides) |
| Shirly Brener | ... | Inmate | |
| Mira Sorvino | ... | Dina | |
The true story of Dr. Miklos Nyiszli, a Hungarian Jew chosen by Josef Mengele to be the head pathologist at Auschwitz. Nyiszli was one of Auschwitz's Sonderkommandos - Special Squads of Jewish prisoners placed by the Nazis in the excruciating moral dilemma of helping to exterminate fellow Jews in exchange for a few more months of life. Together, the Sonderkommandos struggled to organize the only armed revolt that would ever take place at Auschwitz. As the rebellion is about to commence, a group from the unit discovers a 14-year-old girl who has miraculously survived a gassing. A catalyst for their desperate attempt at personal redemption, the men become obsessed with saving this one child, even if doing so endangers the uprising which could save thousands. To what terrible lengths are we willing to go to save our own lives, and what in turn would we sacrifice to save the lives of others? Written by Sujit R. Varma
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I've seen this film twice. The first time it was such a shocking,
horrifying spectacle I vowed to never see it again. It is absolutely
among the most graphic, violent films ever made, save slasher/horror films. I saw it again to see what was buried
underneath the gore. It was surprising. As a historical document
alone The Grey Zone is unique and impressive. Countless small
details contribute to its originality: the blue-green color of the
Zyklon B crystals, the sprinklers constantly working the lawn
beside the crematoria, the clear, pretty daylight when the trains
arrive, the intimate building-to-building geography of Birkenau --
only the film Shoah manages to make these small historical
details count so much. What's left to be said about the Holocaust?
These things. Small things. Details. The grass, the sound ovens
make, sunlight hitting brick. Shoes. Luggage.
The Grey Zone is so unique that it has been misinterpreted. There
is virtually no music, nothing to tell you how to feel. It is exactly the
opposite of melodrama. The mundane repetition of the killings
actually numbs you after awhile, and this is intentional since this is
how the main characters are affected. There is no uplifting
message, and no cliched Zionist coda like Schindler's List
suggesting that all the suffering had a destination and a design.
There are some awkward elements in the film. But these are
minor next to the clarity of purpose and originality. The Grey Zone
should not become marginalized in the canon of Holocaust art
because it refuses to be sentimental. Hopefully it will be
referenced and reviewed for a long time.