User reviews

"Varian's War" tells of Varian Fry, an American citizen who sets about to liberate the great minds of Europe in the years prior to American involvement in WWII. An entertaining historical drama built for Showtime, this well made but somewhat scripted and theatrical film illuminates the mechanics of Fry's mission but is more stilted than engaging, more mechanical than compelling, and possibly bit off a piece of history bigger than what it could chew. Worth watching more for historical than dramatic value.

Varian Fry (William Hurt) is an American who witnesses the cruel treatment of the Jews in Nazi Germany. He advocates for helping the artistic lights of Europe to escape the Nazis. He enlists the help of many including Mrs Roosevelt. In Vichy France, he finds the help of Miriam Davenport (Julia Ormond) but the situation starts to deteriorate.

This is a smaller TV movie based on the true story. However there are a lot of big name actors including Alan Arkin and Lynn Redgrave. The actors in this is enough to make this a reasonable movie. The subject matter is very compelling. Varian's mannerisms can be very stiff, and the dialog can be a little bit unnatural. However the story comes with a good dose of international intrigue. Also this movie needs to be made.

Varian was not known to me before this movie and I was disappointed that the movie didn't bring out more about him and his motivations. However, both Hurt and Ormond gave fabulous performances. He had that strange "Roosevelt" gait that you see so much in the 40's and was very understated. This had the look of pretty standard Made-for-TV fare. Usually Showtime kicks it up a notch, but not this time.

This man is something of a Schindler, if you will, but he focused mainly on saving artists. Beautifully played by William Hurt, with great supporting actors all around him, this film was obviously made on the cheap, but that doesn't cheapen the content which is worthy. A good family film. I recommend it.

The comparisons to Schindlers List are to be expected here- William Hurt plays, rather well, a man who saves the persecuted artists and intellectuals of WWII. You know where the story is going, and yet the marvellous acting of Hurt and Julia Ormand manage to hold your attention. Fine supporting roles as well- Alan Arkin all but steals the movie. Maury Chakin has a rather unfortunate suit to overcome, and here's where the lack of money affected the story for me. It's so obviously made in Canada for a dime, and yet it's a vast story. Why do it if you can't do it right? I wasn't wild about the music either, it was very 'on the nose' and told us how to feel every step of the way. I expected more from producer Barbra Striesand. The actors, however, transcend all the cheapness and sentiment and make it very watchable.

This is a film about an American man with a noble mission - to rescue Jews living in France in the 2nd World War by taking them to America. But not any Jew! Must be an accomplished artist! He books the best hotel room in the city of Marseille, smokes and drinks half of his money and at the end attempts to rescue four couples who could barely walk a mile (Obviously they smoked and drank like hell themselves). Moreover he passed on sex a number of times, slowly making him a very angry person!

Aside from the poor writing and directing mentioned in the summary, the consistently stilted acting stands out. It would be entirely unfair to try and single out anyone for what were never more than occasional, brief moments of believable acting. Given the (well nigh all-star) cast, this is quite an exceptional achievement! The anachronistic props and totally implausible behaviour of the main characters have already been mentioned in other comments.

Though not in the habit of staying with clearly substandard fair (even when compared to Hollywood's 'normal' offerings!), I persisted, for two reasons. First, the historical period has always been of great interest to me, and I was unfamiliar with Fry's story. Second (and this was, I suppose, a perverse reason), I was curious to see whether anything could be this bad for a full two hours. It was.

It is impossible to avoid the conclusion that the chief (if not only) culprit in all this is the writer/director. But there is at least a glimmer of a 'silver lining' here: having never heard of him, I can now take care to avoid his work in the future.

"Varian's War" is a very important film and I, for one, am glad to see films of this kind being made. Thanks to Barbara Streisand for backing it, and to the writer and director and composer for the beautiful music, to William Hurt and Julia Ormond and all the other fine actors for showing us all, that ONE PERSON CAN MAKE A DIFFERENCE. Look what this one man has done, all by himself, creating a group and raising money and saving the lives of some of the greatest thinkers, artists, musicians and others who have moved our cultures and civilization forward, and saved our souls.

Thanks to everyone, as this film has given me much to think about and much to strive for. I hope it becomes available for purchase as I would like my students and everyone I know to see it, at least one time, and consider what course of action we might all take - if only for once in our lives - that might make the tiniest bit of "difference" as Varian has done. Yours sincerely, Catherine Todd

I recently stumbled across the name Varian Fry, and was intrigued by the fact that he is one of only 3 Americans to be named "Righteous Among The Nations" by Israel -- which is an award given to non-Jews who saved Jews during the Holocaust. (Such as Oskar Schindler).

When I saw that a movie had been done about his experiences, I decided to rent it, even though it was made-for-TV.

Unfortunately, I don't think this film did justice to the emotional intensity of this period of history, or Fry's remarkable achievements. Fry's real-life story seems like it would be really juicy, but is portrayed in this film without much of the juice.

Right off the bat, I sensed that this was a cheap production. I noticed an extra who was walking in one scene, and then is seated in a wheelchair in another scene. I noticed the same prop (a photo with Joseph Kennedy) used in the background in 2 different offices. Of course, these minor goofs are not important, but they give you a sense of the low-budget flavor.

Ultimately, I give Varian's War a rating of 5 because it is hard to totally destroy this interesting tale, and because there are at least a few decent scenes and moments of genuine emotion. But overall, it lacks the charm, excitement and thrills that I am sure accompanied Varian Fry's actual adventures in France.

By the end of the film, my thirst for knowledge about this heroic American had not been quenched.

I saw this film last night at its advanced screening at the WorldFest Film Festival in Houston. This Canadian production is absolutely marvelous. A feel-good movie about the Holocaust is hard to come by, but this not only fits that description, it refrains from becoming a sappy and trite "let's save the world" flick. Instead, it treats its subject matter with dignity and reveals itself as a poignant film that will cause you to question your own character and faith in humanity. Not only is the story well put together (and based on a true story, at that!), but the acting is terrific, with William Hurt and Julia Ormond delivering outstanding performances. You won't miss the character of Bella Chagall, who steals every scene she's in. Even the minor characters appear to be three-dimensional rather than simple window dressing. The costuming was absolutely sensational; I don't think I've really ever bothered to look at costuming and lighting before but in this case, it's so perfect you can't help but notice. You must see this film!

This movie is based on real life events and after seeing Varian's War I feel respect and admiration for this man who saved the life of some of the greatest artists of his time. However, the movie is slow and pretty boring. During all the movie it seems that this noble man wants to rescue people who don't want to be rescued and keep complaining of having to leave France, without realizing that someone is sacrificing to give them the opportunity to save their lives. The way the plot is developed is hard to keep the viewer interested in the movie. I was tempted to turn off my TV on several occasions. This movie is good for students who want to learn about the atrocities of the Nazis but not for entertainment.

I just watched this film and thought it to be pretty bad. There was no suspense in an area that should have been awful for the people involved. The lack of attention to details really bothered me. Example, the German troops were transported in a 1953 2 1/2 ton American army truck - the German Colonel's medals were wrong. He wore a regular army knights cross iron cross but he was in the SS, so the iron cross should have had a swastika in the center, which was reserved for the SS only. The flippant manner of Hurt would have lasted a few seconds in Vichy France and was not realistic to the times. The real Varian Fry was always nicely turned out, but Hurt portrayed him as unkempt. My wife agrees this is a totally unrealistic film and is typical of the way Hollywood does not know how to make really good movies any longer. The subject matter deserved a much better effort.

I have awarded this film a ten, because a few months ago, the

Secretary of State, Colin Powell, gave a posthumous award for "constructive dissent" to Hiram (or Harry) Bingham, IV

recognizing that he issued 2500 visas against the wishes of the

State Department and President Roosevelt. The people he saved

included the artists Marc Chagall and Max Ernst and the family of

the writer Thomas Mann.

Bingham's father (on whom the fictional character Indiana Jones

was based) was the archeologist who unearthed the Inca city of

Machu Picchu, Peru in 1911.

He has now been honored by many groups and organizations

including the United Nations and the State of Israel.

The TV film Wallenberg: A Hero's Story (1985) is a great

companion piece. Bingham passed away in 1988 practically

penniless, and the circumstances of Wallenberg's death remain a

mystery.

It is truly a tragedy that the great principled human beings are

recognized after their passing. But the film industry does do the

world a service when it brings important history to the attention of

those who would ever have known.

This movie looks like it was filmed in Montreal or Quebec City, with some n@zi flags thrown up for set decoration. The whole thing is so low-rent and antiseptic it reminds me of the cheap-o Historical Moments shorts they run on CBC TV in Canada where they teach the 27 people still watching the state broadcaster about the fight to recognize beavers as the national symbol or the magic formula or maple syrup. William Hurt reads every line in every movie like it's the first time he's encountered the words. Or English is not his native language. This stilted delivery does not work for a heroic character. But I'm sure a bunch of Canadian dentists got a nice tax writeoff for when this one got relegated to a TV-only release.

This movie successfully takes one back to the dark days after the fall of France. Jews have escaped to Vichy (unoccupied, southern) France, where they are trapped as the puppet French government and Nazi forces prepare for deportations to concentration camps. (The construction of death camps still lay in the future....). Varian Fry is an American of conscience who goes to France in the days when the U.S. was still a neutral power to see if he can assist prominent Jewish intellectuals to get out and to the United States. This documentary tells the story of his actions, and the first group out. It is low-key, subtle, but gripping in a very human way.... It truly takes one back into a time when good and evil not only coexisted, but shook hands, exchanged pleasantries, dined together, and smiled across the abyss at each other's visage.... Put this on your 'must see' list -- and take the kids, too!

As reluctant as I am to dismiss any movie that reminds us of the atrocities of the Nazis during WW II, this 2001 TV movie (so bad no one bothered to digitized it) should be watched so one can appreciate how hard it is to make a great movie. Even a respectable cast, strong production design and great story based on historical events can't save this dreadfully slow paced bore fest. Hurt has made a career playing low key characters but he sleepwalks through this dramaless tax shelter production. Indeed, Canada, where the "tax shelter film" was born, does have a role in producing this clunker and as a critic once said, "Making a commercially viable film in Canada is like trying to compete with Ford by building a car in your basement." The one great Canadian contribution is Maury Chaykin in a small role that perks the film up just enough to remind you how awful the rest of it is. Forget this mess and watch 'Schindler's List' again.

In the midst of the Nazi madness when goons hunted down artists, thinkers, and other "misfits" or "queer ducks," Varian Fry was a man who decided to prevent the intellectual and artistic soul of civilization from going into a new dark age. He rescued people who would have otherwise been sacrificed to neutrality as well as to madness.

This is an excellent TV-film that is a memorial to the people who fought against fascism before the armies ever mobilized. The mind is mightier than the explosive and the bullet.

Another person commented on the lack of attention to detail of this movie, I would have to agree. Besides the things the other person mentioned, I would like add the use of filtered cigarettes.

Like a lot of recent Hollywood releases, they seem to be really obsessed with smoking -- it seems like everybody in this movie is smoking in every single scene.

But when William Hurt fires up a smoke in one of the first scenes, the filter stands out like a neon light! I mean this was supposed to be 1938, and if I'm not mistaken, filter cigarettes weren't even invented until the 1950's!

William Hurt stars as Varian Fry in "Varian's War," a 2001 Showtime movie.

Varian Fry was a real person, an American visiting Germany before World War II. He was appalled at the treatment he saw Jews receive and was determined to do something about it.

He formed a group, the Emergency Rescue Committee. During a fundraiser, he explains that his group is dedicated to helping the Jewish artists, intellects, writers, and musicians out of Europe. These people included Heinrich Mann, Marc Chagall, Franz Werfel, and many others.

Following the Occupation of France in August 1940, he traveled to Marseille. He made it clear to authorities that he was not advocating people sneaking out of Europe; he wanted the government to grant them exit visas. Of course, the French authorities weren't issuing them.

Fry began with a short list of people, but hundreds came to him -- anti-Nazi writers, avant-garde artists, musicians and hundreds of others desperately seeking any chance to escape France.

Fry formed a team of two Americans, Miriam Davenport (Julia Ormond) and Mary Jane Gold (this character was not in the film), and he was put in touch with a forger, Albert Hirschman (Matt Craven).

Instrumental in helping Fry was Hiram Bingham IV (Ted Wittal), an American Vice Consul in Marseille who fought against State Department anti-Semitism. In the movie, he has several people hidden in his home.

The way out is treacherous and long, but Fry over the time he worked was able to help 2200 Jews out of Nazi-occupied territory.

I will admit that this film did not have the usual edge of your seat tension that many films of this type have, but it was still a wonderful story of commitment and camaraderie, with some excellent acting.

William Hurt did an excellent job as Fry, who in trying to keep the Nazis at bay, acted like somewhat of a doddering, modest intellectual who floundered around and was really friendly to everyone. Julia Ormond was wonderful as the strong, sexually aggressive Miriam, a no- nonsense woman.

Lynn Redgrave, as Werfel's wife (and the former Mrs. Gustav Mahler) was a standout, both funny and annoying. In one scene she is lectured about carrying one suitcase and she insists that she will follow all of the rules; in the next scene, she is standing at the train station with a group of suitcases, demanding that they be put on board. But everyone was very good. Alan Arkin had a small role -- that's the quality of the cast.

The only thing that made me sad was, in reading about Fry, it seemed like all of the people with whom he worked led long lives, but he himself died in 1967 at age 60. He did not live to see his work honored. If his portrayal in this film was correct, I don't think he would have cared.

The movie plods along - victim of a poor screenplay that: i) distorts terribly the real facts, ii) fails to convey the excitement and danger of the undertaking, iii) fails to address the underlying moral question of seeking to save only those who've made their names in the arts, and iv) fails to sufficiently acquaint the audience with the merits of those who escape. The best thing about the movie (as true in so many movies) is Alan Arkin's performance in a small role - he's always superb.

I've no problem with the alteration of some facts in order to make a more compelling story. Thus, the fact that Chagall and his wife did not make the trip with Werfel and Heinrich Mann but went at a different time, or that there were actually up to a dozen people working with the committee (many of them European), or that Fry hardly ever personally escorted any of the people into Spain, I see as normal poetic license.

However, to say that the Miriam Davenport character is a composite - but then to steal the name of a real person who died during the production in order to present a terribly ugly and false portrait of her, is not forgivable. From what I've read (including her journal), the real Davenport was a very young, sweet idealistic person whose fiance was trapped in Yugoslavia, not the coarse, promiscuous and tough creature given this name in the movie - (and given a fictitious physical ailment).

And to make Fry a bizarre, hesitant, effete man who affects a dandy's guise - is absurd. Again, from what I've read, the real Fry was smart, straightforward, strict, and decisive. (And he didn't die penniless, but was teaching classics at a New England prep school).

No one in the movie addresses the central moral question - why should the lives of those in the arts be more precious? The vast majority of those saved, had done their best work long before (Arendt is the obvious exception) - they weren't being saved for their future contributions so much as their past. Would it not be at least arguable that those saved should be those who were most involved in charitable works, had the greatest "heart"? Or that those saved should be those whose past indicated the most practicable help to the U.S. should it get into the war? Or that those saved should be those who had the closest family relation to American citizens? The movie's failure to address these questions - and blithe assumption that those in the arts are simply superior to the rest of us, so their very lives are more worthy of preservation - is deeply annoying.

Moreover, the movie fails to convey any sense of the value of the particular people saved. We need to know why these particular people are so important to Fry and others. Why could they not give the viewer a sense of the writing of Heinrich Mann, Feuchtwanger or Werfel? Why could they not show a single canvas of the work of Duchamps, Ernst or Chagall? Why could they not show some of the sculpture of Lipschutz? The political musings of Arendt? We need to know why these people are so critical.

This movie is dull. Those who like it on this board seem really to be responding to the idea of a movie about Fry's work - or to be (quite justly) praising what he and others in the committee did. Since the central drama of the personalities involved is so falsely presented, it's far far better to simply read about them.

Starring William Hurt, Julia Ormond, Alan Arkin, and Lynn Redgrave, this drama is based on the true story of Varian Fry, who risked his life to establish an underground rescue network that saved some 2,000 people from death at the hands of the Nazis during World War II. Sickened after witnessing the treatment of Jews in Nazi territory, Fry starts an emergency rescue mission to raise funds and lobby to help a growing list of intellectuals and artists escape from France. Through the help of First Lady Eleanor Roosevelt, he overcomes the reluctance of the U.S. State Department and begins to track down intellectuals and artists such as Marc Chagall and initiate the clandestine action.

Why is this film, in which Poland is never mentioned, notable as it relates to the Polish American experience? Two reasons: 1) the unflinching portrayal of Vichy France during World War II, where the Pétain government tried to avoid Nazi occupation by total collaboration and 2) the exposure of U.S. policy not to issue entry visas to Jews. This film undoes some of the post-war propaganda that romanticized France and Italy and demonized Poland, where the Nazis implemented their murderous plans and met with the most stubborn resistance. For its efforts, Poland paid a far higher price than France (6 million people killed versus 567,000) and the total destruction of Warsaw (versus "We'll always have Paris"). These facts are all the more galling in the 21st century when deniers such as Jan Gross write books about anti-Semitism that virtually blame Poland for the Holocaust.

Produced for Showtime in 2001, but released theatrically in Canada, this is a must-see among films about World War II, ranking right up there with Schindler's List. It is also interesting to note that Barbra Streisand served as an executive producer.