THE JEWISH GIRL | Das jüdische Mädchen | Еврейското момиче
Drama. Sofia 1943. Christo, a local bar owner, is determined to save a wounded 16-year-old Jewish girl, who jumped off the train from Thessaloniki to Auschwitz, after stabbing a Nazi officer. Meanwhile, Christo develops an intimate relationship with the Jewish psychiatrist treating his wife in a mental sanatorium
הנערה היהודייה | ישראל בולגריה גרמניה
דרמה. סופיה 1943. כריסטו הוא בעל בר בולגרי נחוש להציל נערה יהודייה פצועה בת 16 שקפצה מהרכבת שהובילה יהודים מסלוניקי לאושוויץ לאחר שדקרה למוות קצין נאצי וברחה. במקביל מנהל כריסטו רומן עם הפסיכיאטרית היהודייה שמטפלת באשתו המאושפזת בסניטריום. העניינים מסתבכים כאשר קצין של האס. אס. מגיע לסופיה כדי ללכוד את הנערה היהודייה.
Ext. Grove. Night. Christo's (48) driving his car. On the curve, in the light of the car, he sees the 16 years old wounded Jewish girl laying on the ground.
Int. Sanatorium. Day. Christo's visiting his wife (47) who is hospitalized (depression). He sits by her bed and gently strokes her hair.
Int. Church's Doors. Night. Christo carries the young Jewish girl in his arms, while the priest (48) opens the door for him.
Int. Car. Night. Christo kisses the Jewish female psychiatrist (36), who treat his wife.
Int. Christo's bar. Night. A SS Nazi officer (45) walks into the bar, dressed in a detective trench coat and a brimmed hat.
The visual language of JEWISH GIRL would not be aiming to reveal the details of the time
and places back then, but more the actions and emotions of a single person. A man, who
despite his situation, doesn't lose his self-esteem and intrinsic values.
It would pay less attention to the surrounding. Wrapping the pictures in darkness rather
than searching for historical details and big set ups would allow us to focus more on the
main character, like a clear path in a blurred and a drifting dream. The choice of the
distance between the actor and the camera would help us to create the feeling of isolation,
and let us focus on his inner emotions. A free moving camera, following him in longer
uninterrupted shots. Though in motion, the camera remains invisible, due to the motivated
movement by the acting.
Another visual approach would be to stay with Hristo and showing the happening trough
his point of view, most of the time. Whenever he observes, the camera would be closer to
him and showing, what he sees, from his angle. When a scene is far form him, we see it
far and not in close shots. We would enter the opening night scene in the forest observing
it first form his car. Also, finding the girl, a silhouette, a dark figure shown from his car, what
he sees. A not clear image, then slowly we discover the body.
The warm electrical, gas and candle lights, typical for this part of the century, also setting
up big part of the film at night, would dictate the color palette of the film.
In day time we would keep the interiors dimmed, due to the use of curtains, so we keep
the feeling of a bright sunny day, but just outside. Inside the mood is heavier.
A good terence for us is the film SAMURAI from Jean-Pierre Melville. A film noir in Color