Joseph
Joffo’s childhood holocaust memoir is published by a university press here in
America, but in France it is nearly as esteemed as Anne Frank’s diary, albeit
with a more upbeat conclusion. Jacques Doillon previously adapted it for the
big screen in 1975, but his film never had an American theatrical release. The
story of familial love conquering hateful ideology is still compelling, even if
many viewers can anticipate the broad strokes of Christian Duguay’s A Bag of Marbles (trailer here), which opens today in New York.
Joseph
(Jo) and Maurice Joffo are the youngest sons of Roman and Anna, naturalized
Russian Jews who were never particularly religious, but still carry memories of
pogroms from the old country. Perhaps because their father is barber, he has
wind of an impending round-up, so the couple arranges for their two youngest to
head down to the comparative safety of hostile Vichy France. Hopefully, their
parents and grown siblings will join them shortly thereafter.
In
the months that follow, the Joffo brothers will practically hide in plain
sight, enrolling in a Petain-affiliated youth camp. This pattern repeats itself,
when the family of a pompous Petainist takes in young Jo, assuming he is a
Catholic Algerian war orphan. Maurice will find more palatable company in the
home of a resistance activist, but the brothers are never apart for long.
Indeed,
that sibling relationship is precisely what distinguishes Bag of Marbles. It is clear during the first act Jo gets a disproportionate
share of their parents’ affectionate, while Maurice must make do with the
scraps of their attention, but he is never bitter or jealous towards his
younger brother. Instead, he is resolutely loyal and protective.
Dorian
Le Clech and Batyste Fleurial are both very good as Jo and Maurice. They really
act like brothers, convincingly teasing each other one minute, then closing
ranks the next. Coline Leclère also has some touching moments as Françoise Mancelier,
the daughter of Jo’s collaborator host, who is partly his crush and partly his
confidante. However, amongst the large but largely colorless adult ensemble, it
is Christian Clavier who really lowers the boom as Dr. Rosen, a Jewish doctor collaborating
for more time, who provides some unexpected assistance.
