Introduction – Sept 12, 2019
Jerzy Kosiński originally introduced the book The Painted Bird as autobiographical. However, according to Wikipedia:
“it was discovered that the story was not only fictional, but also plagiarized from popular books written in the Polish language, largely unknown to English readers.”
So the book on which movie The Painted Bird is based is not history. Nor is it an eyewitness account. It is fiction, and violent pornography at that with scenes of incest, rape, bestiality, murder and being buried alive. All of which takes place within the context of the Holocaust.
Now I’m not saying that the Nazis did not plan to eliminate Jews. It is an established fact that Hitler’s Einsatzgruppen were tasked with the slaughter of Communists, Romanis, partizan fighters and Jews throughout Eastern Europe and Western Russia. This is all recognised fact.
However, many dispute Hollywood’s version of the Holocaust, which purportedly involved the murder of six million Jews, mainly in gas chamber at Auschwitz. These ‘revisionists’ don’t say the Holocaust didn’t happen. Instead, they simply call into question the HISTORICAL DETAILS.
The point is that many will defend this film because of its tenuous association with what may, or may not, have happened at Auschwitz. While they ignore the evil that it deceitfully promotes. Ed.
MORE cinema-goers flee horrific Holocaust movie The Painted Bird that shows brutal scenes of incest, bestiality, child rape and mutilation
Isabella Nikolic – Daily Mail Sept 9, 2019
Some horrified audience members walked out of the film’s showing at the Toronto Film Festival on Sunday – days after dozens of audience members ran for the exits during scenes of child rape in Venice.
Director Václav Marhoul’s three-hour film is based on Jerzy Kosinski’s highly contentious 1965 novel about a Jewish boy surviving the worst human nature can inflict on him in an unnamed Eastern European country.
The book is one of most controversial books about the Holocaust and the film includes hard-hitting scenes of incest, rape, murder and a young boy being nearly pecked to death by a bird.
Shot in black and white, it portrays the story of a young Jewish boy who is trying to reunite with his father by travelling through Nazi-occupied Europe.
He has been sent to live with his grandmother during the ruthless persecution of the Holocaust in German-occupied Eastern Europe.
But the grandmother soon dies and the Boy is left to wander the countryside alone.
In the opening scene, the boy’s pet ferret is taken from him, doused in fuel and burned alive.
This is just the beginning of the relentless barbarism which will be inflicted upon the boy, played by Petr Kotlar. Wherever he goes to seek shelter, so follow scenes of utter depravity.
In the first town where he resides, the peasants believe he is the devil incarnate and he is taken in as a slave by the local doctor, who later buries him up to his neck in the ground in an apparent bid to save the Boy from disease.
In Venice, the first audience exodus was triggered when a jealous man in the movie’s second town takes a spoon to gouge out the eyeballs of a teenager who has taken too much interest in his wife.
A nearby cat then devours the eyeballs on the floor.
The boy is later saved from the Gestapo by a perverted priest, played by Harvey Keitel. The priest gives the child to a paedophile who repeatedly tortures the boy.
After his next escape the boy is seduced by a nymphomaniac who is outraged the child cannot satisfy her urges and takes revenge on the Boy by copulating with a goat. This scene prompted the second largest walk-out of the audience.
The boy is captured by the army, forced to drink alcohol, tied to horses and dragged to the German camp, with a note saying that he’s a Jew.
There he is sentenced to death and witnesses a freight train full of his fellow Jews being carted into the concentration camp.
In the final scenes the concentration camp is liberated Russian cavalry in the final act of the film and the boy is freed and reunited with his parents.
Kosinski was born in Poland in 1933 and survived the Second World War under a false identity. He initially hinted the book was autobiographical.
According to Forward, Marhoul defended his grim adaptation to the press at Venice, saying ‘only in darkness can we see light. Shining through all the horrors is, for me, hope and love.’
He spent 11 years recording the film and even invented a new Slavic-sounding language for the small amount of dialogue in the movie so that it could serve as a comment on war-struck Eastern Europe in its totality.
In Xan Brooks’s review for the Guardian, he detailed how one ‘well-dressed woman became so frantic to get out that she hit the stranger in the next seat’.
And how a man ‘fell full-length on the steps in his effort to escape’.