A Simple Heroism

 

“A Simple Heroism”

A Review of Irena’s Vow by Nick Olszyk

 

Distribution Service: Theatrical

MPAA Rating, PG-13

USCCB Rating, Not rated at the time of this review

Reel Rating, Three Reels           

 

            By this point in 21^st century, there have been many films about the Holocaust, so many that new ones can be viewed as boorish or even patronistic. Yet, as the October 7^th terrorist attack on Israel has demonstrated, it is still a timely and necessary subject. Irena’s Vow tells the story of a Polish woman, barely an adult, who saved the lives of over dozen Jewish people by hiding them in the home of a Nazi official for almost three years. Unlike the dramatic, big budget flair of Schindler’s List or the extensive sweep of Shoah, this film – like its protagonist – is a simple but effective witness to the everyday heroism of Christians that so often goes unnoticed but to God alone.

            Irena (Sophie Nélisse) is the poster child of an ordinary Polish woman in her late teens: humble, kind, academically minded, and pius. She attends Mass, goes to school for nursing, and little else. Yet her plans are thrown into turmoil when the Nazis invade in 1939. Due to her age, diligence, and non-Jewish ethnicity, she secures a job as a housekeeper, rising through the ranks to eventually becoming the head butler and cook for Major Rugmer (Dougray Scott), who lives alone in large, confiscated villa. Rugmer is amazed at her skill and pose, easily cooking, cleaning, and keeping house, entertaining large parties without breaking a sweat. He doesn’t know that she has secretly hidden several Jewish couples in the basement, who help her in these tasks. For years, she keeps up this noble ruse though always on the precipice of being discovered.

            There’s an assumption that heroes must be grand, magnificent, and famous like Marting Luther King or Hercules, but Jesus points out that “the greatest among you will serve the least” and “let not your right hand know what your left is doing.” Nélisse gives a textbook example of a subtle but effective performance, never giving any speeches, rarely raising her voice, allowing her vulnerability to be an asset. No one would think the quiet, mousy housekeeper would be running an underground network of Jewish refugees. In addition to humility, she is remarkably clever. When Rugmer hears noises in the basement, she convinces him it is rats and uses the “extermination time” to better prepare the house for her guests. When a local criminal discovers her secret and tries to blackmail her, she edits the offending letter to make it seem to target Rugmer, who promptly has the man executed.

            Louise Archambault’s directing is a masterclass in pacing and anticipation. She plays constantly creates tension between what Irena, Rugmer, the Jews, and the audience knows to keep the tension high throughout the film. She also has a tremendous eye for space. The house becomes a character itself. The audience becomes intimately familiar with the dining room, the master bedroom, the basement, the ballroom, and the kitchen to the extent that we know if this person goes through that door, he will see something he shouldn’t. She combines classical staging techniques from Hitchcock and theatrical farces to great effect in a way I haven’t seen in a drama such as this.

            The film is not explicitly Christian in its outlook, but it would be impossible for a Pole to ignore the subject. Irena’s Catholicism makes helping these poor souls as natural as brushing your teeth before bed; it happens organically without thinking. The subject of abortion is briefly examined when a Jewish couple becomes pregnant; a screaming baby would certainly jeopardize the situation. Ultimately, Irena convinces them to not kill the child, though more for reasons of rebellion than the sanctity of life.

Towards the end of the film, Rugmer discovers Irene’s secret and, recognizing both his duplicity and attraction to Irene, agrees to keep it if she becomes his mistress. She complies, which could be seen as a terrible sin, but it’s hard for the audience to judge her situation. For one, it is not completely consensual. For another, there does appear to be genuine love between them. Rugmer is a ruthless Nazi but through the years of watching this lonely old man Irene appears to emphasize with him. Their relationship, like so many of the period, was complicated. In an ironic twist, when she was named a Righteous Among the Nations decades later by the Israeli government, he was also included in her commendation.

Irene’s Vow is a solid, competent drama that succeeds even apart from its subject matter. I must admit that I was not excited to screen this film; I had seen so many movies about this topic and was far more interested in Godzilla x Kong: The Lost Empire (which was amazing for very different reasons). Fortunately, I had the opportunity to speak briefly with Nélisse about her role, and she reminded me that, given recent events, this was still a contemporary issue. We might not be in a time or place to house refugees from a genocidal government, but we can say a kind word on social media, comfort a grieving friend, or visit an ostracized relative. In this way, we are being heroes “to the least among you.”

This article first appeared in Catholic World Report on April 6th, 2024.