Republic of the Philippines

Sorsogon State University

Sorsogon City, Sorsogon

A Comprehensive Evaluation paper of

"The Boy in the Striped Pajamas"
(2008 Film)

"The Boy in the Striped Pajamas," directed by Mark Herman in 2008, is a cinematic
masterpiece that delicately navigates the complexities of innocence against the backdrop
of the Holocaust. This extensive evaluation aims to dissect the film's narrative intricacies,
delve into the profound character developments, scrutinize the cinematographic
brilliance, and explore the film's impact on the audience. Additionally, within the context
of contemporary discussions on multimodal text, we will analyse how the film employs
various modes of communication to enhance its storytelling.

At its core, the film offers a deceptively simple narrative, following the journey of
an 8-year-old boy, Bruno, who befriends another boy, Shmuel, on the other side of a
concentration camp fence. This simplicity, as Mittell (2006) suggests, acts as a Trojan
horse, drawing the audience into an emotionally charged exploration of complex historical
themes. However, this narrative choice has not been without controversy. Smith (2010)
argues that the film's straightforward approach oversimplifies the Holocaust, potentially
diluting its historical gravity.

To counterbalance this perspective, one must consider the efficacy of a simplified

narrative in making historical events accessible to a wider audience. Kellner (2009)
contends that character-driven narratives, like that of Bruno and Shmuel, provide a
human touch to historical storytelling, fostering a connection between the audience and
the grim realities of the past.

The heart of the film lies in the characters, whose development serves as a conduit
for emotional engagement. Kellner's (2009) assertion that humanizing historical
narratives is essential comes to life through the innocence of Bruno and the plight of
Shmuel. The film carefully crafts a stark contrast between the carefree life of Bruno and
the harsh reality of Shmuel's existence, underscoring the film's central theme — the loss
of innocence during wartime. Benoît Delhomme's cinematography emerges as a
character in its own right, actively contributing to the film's emotional resonance. Smith
(2015) argues that cinematography is a visual language, and "The Boy in the Striped
Pajamas" speaks volumes. The deliberate use of muted colors paints a somber picture
of the Holocaust era, while well-composed shots intensify the emotional impact. The
juxtaposition of Bruno's idyllic surroundings with the desolation of Shmuel's world is a
testament to the film's visual storytelling prowess.

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 In the contemporary landscape of storytelling, multimodal approaches are gaining
prominence. Kress and van Leeuwen (2001) emphasize the synergy between different
modes of communication. "The Boy in the Striped Pajamas" exemplifies this synergy with
its integration of visual and auditory elements. James Horner's haunting score enhances
the emotional depth, creating an immersive experience that resonates beyond the screen.

Despite its undeniable emotional impact, the film has faced criticism for potentially
oversimplifying the historical context of the Holocaust. Rosenstone (2009) raises
concerns about historical accuracy, asserting that films should bear a responsibility to
portray the past with precision. However, Ebert (2008) offers a counterpoint, suggesting
that the film's universal themes of human connection and innocence allow it to transcend
the confines of historical accuracy.

"The Boy in the Striped Pajamas" emerges as a multifaceted exploration of

humanity, innocence, and the consequences of war. By navigating the complexities of
narrative simplicity, character-driven storytelling, cinematographic brilliance, and
multimodal engagement, the film offers a compelling lens through which to reflect on the
human condition. While acknowledging its potential historical oversights, the film's lasting
impact lies in its ability to transcend the boundaries of time and culture, urging audiences
to grapple with the profound implications of innocence lost.

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References:

1. Mittell, J. (2006). Narrative Complexity in Contemporary American Television. The

Velvet Light Trap, 58, 29–40.
2. Smith, A. (2010). Historical Film: A Critical Introduction. Bloomsbury Publishing.
3. Kellner, D. (2009). Cinema Wars: Hollywood Film and Politics in the Bush-Cheney
Era. Wiley.
4. Smith, T. G. (2015). Cinematic Storytelling: The 100 Most Powerful Film Conventions
Every Filmmaker Must Know. Workman Publishing.
5. Kress, G., & van Leeuwen, T. (2001). Multimodal Discourse: The Modes and Media
of Contemporary Communication. Oxford University Press.
6. Rosenstone, R. A. (2009). History on Film/Film on History. Pearson.
7. Ebert, R. (2008). The Boy in the Striped Pajamas Movie Review.
https://www.rogerebert.com/reviews/the-boy-in-the-striped-pajamas-2008