Defiance: saving lives, forest wives and reversing stereotypes in this untold tale of Holocaust survival

The title sounds like some vehicle for Stallone, or maybe the Rock, but Defiance in fact belongs to the new crop of revisionist WWII/Holocuast movies, an epic of resistance, survival and self-determination. It’s based on an astonishing and largely unknown true story, astonishing in part because its portrayal of the abysmal suffering of Europe’s Jews is given fresh dynamic in the shape of Belarusian brothers Tuvia, Zus and Asael Bielski, three handsome boys of durable Jewish peasant stock who lose everything in the German invasion save their lives and dignity. You have to marvel and just how rare it is in movies to find such a characterization of the Jews, not as a mass of helpless victims, but as tough motherfuckers.

Having fled their homes, the Bielskis original plan was, understandably, founded in self-interest. But their encounters with other Jews hiding in the Belarusian woods tugs at their sense of solidarity and purpose. Surrounded by trembling, dirt-smeared faces gnawing on scraps of petrified bread, Zus (Liev Schreiber) wonders: “So many dead. Why not us?” The movie is of course one long answer to this question. Where Zus believes the only viable moral option is to fight as partisans alongside the Russians, Tuvia (Daniel Craig) resolves to stay hidden and build a community where every last Jew, from the able-bodied to the infirm, has some chance at survival, however remote. This theme of aggression versus seclusion is given its boldest dramatization in a sequence that shifts back and forth between a Russian-Partisan ambush on a German convoy and a wedding ceremony held in the forest enclave, both effectively staged and given engaging visual arcs by director and co-scenarist Edward Zwick, who previously helmed such like fare as Glory (1989), Legends of the Fall (94), The Last Samurai (03) and Blood Diamond (06).

Other scenes in Defiance however, ones that require greater reflection, tend to be more ham-fisted. Some are entirely unnecessary, like the dumb-ass scene where Bella (Iben Hjejle) asks Zus why the women don’t get guns. Zus simply assures her that the men will protect her, and this chauvinist brush-off, rather than leading to further discussion, touches Bella so deeply that she lets Zus cop a feel. (Does that mean she's Zus' "forest wife?" Lots of the fellows take forest wives, like participants in some prototype for a Pacific Northwest commune. It might have been interesting to learn more about the postwar fates of these forest marriages.) 

With its overused and overly instructive James Newton Howard score, its declamatory, overstated dialogue—which awkwardly avoids contractions as a way of reminding us that the characters aren’t actually supposed to be speaking English—Defiance sort of plods along, very respectful and workmanlike for the most, yet at heart there remains this iconoclastic appendix to the Holocaust narrative that’s worth knowing, not to mention yet another superbly rich performance from Craig, who swings convincingly between that steely gaze that exudes Bond know-how and a sense of desperation and terrible doubt as to what to do with all these people shriveling up from hunger and despair.