Based on Frances Goodrich and Albert Hackett’s play that was based Anne Frank's actual diaries, George Stevens’ film production is able to capture the harrowing experience of the Frank family hiding in a store attic for nearly two years from the Nazis.
Told from the point of view of 13-year-old Anne (Millie Perkins, WALL STREET), the film takes place mainly in the hiding place. At first, Anne is accompanied by her sympathetic and supportive father Otto (Joseph Schildkraut, THE SHOP AROUND THE CORNER), her demanding and conservative mother Edith (Gusti Huber), her quiet, older sister Margot (Diane Baker, SILENCE OF THE LAMBS), battling couple Petronella & Hans Van Daan (Shelley Winters, LOLITA, & Lou Jacobi, AVALON) and the Van Daan’s 16-year-old son Peter (Richard Beymer, WEST SIDE STORY). Shop owner Kraler (Douglas Spencer, THE THREE FACES OF EVE) and his secretary Miep (Dodie Heath, SECONDS) bring the Franks and Van Daans food regularly. During working hours, however, they must remain entirely quiet, often remaining completely still for hours.
Anne is an independent young woman who often butts heads with the others in their tight quarters. In the beginning, she has a combative relationship with Peter, but their feelings later develop into romance to the sadness of Margot. Months into their hiding, Kraler asks if they are willing to take in yet another — a dentist named Albert Dussell (Ed Wynn, MEET ME IN ST. LOUIS), who at first seems like a nice old man, but turns out to be a complaining curmudgeon.
As time goes on, tempers become more frayed. The film does a great job of showing how people would really act in this situation. Additionally, taking directly from the feelings of an intelligent young girl, the story captures the common emotions of children coming of age.
Perkins performance is delightful. She is supported well by the rest of the cast, especially Schildkraut, who brings great dignity to Otto Frank. Stevens (GIANT) has never been one of my favorite directors, but here he does a wonderful job of keeping the constrained world of the narrative compelling and engaging. The subject helps in making the transition from the stage to the screen even easier.
Stevens, who tends to go into melodrama especially with his imagery, is very restrained, actually creating some wonderfully subtle moments of tenderness. When he goes for more dramatic composition, he plays it just right. An unobtrusive musical score helps as well to keep the material grounded. The filmmakers do find a positive spin on the tragic story, which looks at the bigger picture to find hope. The film works as a bittersweet ode to the human will to survive.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
