Grey Zone, The (2001)

Cast: David Arquette, Harvey Keitel, Steve Buscemi, Daniel Benzali, Mira Sorvino
Dir: Tim Blake Nelson

In 2002, Roger Ebert wrote a rave review for this film when it came out in a limited theatrical release. This review prompted me to seek out this film. Had I not read the review, I might never have known this film existed. Even for a limited release, The Grey Zone posted disappointing numbers, and also failed to catch on in DVD. It is quite tragic that a film of such emotional resonance will be overlooked by so many.

Actor Tim Blake Nelson stepped behind the camera to direct The Grey Zone, adapted by Nelson from his own play of the same name. The film focuses on a group of Jews during WWII, called the Sonderkommandos, who were imprisoned in Auschwitz but were given better living quarters, better food, more freedom to move about, and more time to live. In exchange for these luxories, the Sonderkommandos would help lure Jewish inmates to the gas chambers, load the victims' bodies into the furnaces, and clean up afterwards.

The story is mainly focused on a plot by the Sonderkommandos to destroy the furnaces. Weapons are stolen/smuggled from the Nazis, and a group of women prisoners (including Mira Sorvino and Natasha Lyonne) have stashed some ammo and explosives. The Sonderkommandos squabble over when the revolt will take place. They are spread across multiple buldings, and have formed cliques which tend to disagree with one another. When the revolt finally does come, it is almost a surprise to the main characters, as they didn't know a final time had been decided.

There are other various subplots. Some of the ammo is discovered in the women's building, and the Nazis begin to torture them for information. A young girl survives the deadly gas, and is hidden away by the Sonderkommandos, who know that she will be killed in they report her survival to the guards. Dr. Miklos Nyiszli (Allan Corduner), a Jewish inmate who is given even better treatment than the Sonderkommandos, assists the infamous Dr. Josef Mengele. And ever present is Muhsfeldt (Harvey Keitel), the Nazi officer in charge of Auschwitz who commands fear with every word he speaks.

But the film is more concerned with moral choices than with plot details. None of the Jews have any illusions that they will live, they just want to live long enough to make a difference. Dr. Nyiszli assists Dr. Mengele not because he is a traitor, but because it ensures that his family is kept alive. While the Sonderkommandos lead an incoming group of prisoners to the gas chamber, one of the prisoners begins shouting that it's a trap, and that they will all die. A Sonderkommando beats him to death out of anger not that he is screaming, but that he is reminding the Sonderkommandos of what has become of them.

David Arquette plays one of the Sonderkommandos, which should seem like a surprising choice to just about anyone. But in fact, Arquette spends most of the film silent, his eyes to the floor. When he finally speaks more than just a few words, he delivers the film's most tragically beautiful monologue.

Arquette is the surprise, but all of the actors excel in their roles. Keitel's accent is one of the worst German accents I've ever heard, but his presence is so overbearingly threatening that it doesn't matter. Corduner, as the Jewish doctor, probably stands slightly above the rest. There is a scene where Dr. Mengele informs him that "We are going to be increasing our research." The subtle expression change on Corduner's face says more about his character than a hundred paragraphs of monologue ever could.

The subplot involving the women could have been excised, as it doesn't delve very deeply into the characters and does not contribute much to the plot. But it is not too distracting, and allows for a good supporting performance by Mira Sorvino.

The Grey Zone is one of the best overlooked films I've seen, and among the best films I've seen period. Movies about concentration camps can usually only end in one of two ways. Given that this film does not take place in 1945, you can probably guess which road it takes. So be prepared for a bit of post-movie depression. But do whatever it takes to see this movie, which is currently available on DVD from Lion's Gate.

Control (2004)

Cast: Ray Liotta, Willem Dafoe, Michelle Rodriguez, Stephen Rea

This was an interesting little film. Released direct-to-DVD in 2004, Control stars Ray Liotta as a sociopath currently set to receive the death penalty for murder. His death is staged by the prison, and Liotta awakens in the presence of Dr. Copeland (Willem Dafoe). Copeland is running trial tests on an experimental behavior-suppressing drug, overseen by both Copeland and his financier (Stephen Rea). He views the sociopathic Liotta as a prime candidate for the tests. The drug has no effect at first, but eventually Liotta begins to show signs of normality, even going so far as to feel genuine regret and sorrow for an innocent bystander who is now brain-damaged because Liotta shot him while fleeing from a crime scene.

Liotta is released back into society, heavily-monitored, and begins to lead a regular life. He finds a job at a car wash alongside Michelle Rodriguez, with whom he begins to have a developing romance. But all does not stay peaceful for long, as Liotta's former associates realize that he is still alive, and want him dead.

Control was set for a theatrical release and then abandoned in DVD Hell, probably because the studio didn't think a Ray Liotta film was a big enough box office draw. It is not a bad film. Liotta is especially good in his role, and Michelle Rodriguez plays her part with just enough interest in Liotta to want to date him, but just enough suspicion to not fully trust him. Dafoe somewhat sleepwalks his role, but still manages to be engaging. While the synopsis sounds like a hollow Clockwork Orange retread, Control differs itself from Kubrick's work by focusing the story on the characters rather than the theme. Liotta is truly loathsome in his sociopath mode, and his change to a normal human is handled gradually rather than with a montage and a big revalatory scene. Dafoe's Dr. Copeland is a doctor who does care greatly for his experiments, but knows that his subject is an actual human being and treats him as such. And as previously mentioned, Rodriguez always seems a little skeptical that an older man would be so innocently attracted to her, though not enough to dismiss him.

Like most movies, Control doesn't know what to do with itself at the end. The conclusion feels rushed, and too many subplots are left loose. There is a revelation made near the end of the film that is supposed to inspire one of those emotions that are better left in Hallmark cards than on the screen. Still, it's no greater a crime than what is committed at the cinemas on a weekly basis.

Control should have been given a fighting chance in the theater, but now is stuck in Netflix territory. Check it out if you get the chance.