The key to freedom for the Jewish community resides in the secrecy of ‘The Zookeeper’s Wife’. The story revolves around the real-life story of one working wife and mother who became a hero to hundreds during World War II. In 1939 Poland, Antonina Zabinska (Jessica Chastain) and her husband, Dr. Jan Zabinski (Johan Heldenbergh), have the Warsaw Zoo flourishing under his stewardship and her care. When their country is invaded by the Nazis, Jan and Antonina are stunned and forced to report to the Reich’s newly appointed chief zoologist, Lutz Heck (Daniel Brühl). To fight back on their own terms, Antonina and Jan covertly begin working with the Resistance, and put into action plans to save lives out of what has become the Warsaw Ghetto, with Antonina putting herself and even her children at great risk. ‘The Zookeeper’s Wife’ is directed by Niki Caro, and is rated PG-13 for thematic elements, disturbing images, violence, brief sexuality, nudity and smoking.

In an ever-increasing backdrop of Nazi Vs Jewish films that revolve around World War I, The Zookeeper’s Wife resides somewhere in the middle, offering a compelling enough story that unfortunately gets muddled under some less than favorable screenplay negatives. For a majority of this movie, I found myself patiently waiting for something of pizazz or firepower to grasp my intrigue back into this story that offered more than a couple of insightful and original voices in a sense to this tragic era in our world’s history. But unfortunately there’s a healthy offering of bland deconstruction that constantly lacks great emphasis on the importance of urgency within this story. Surprisingly, a lack of direction by Caro is the aspect that plagues this movie through some pretty roughly paced long-winded spurts in story that more often than not miss out on a chance to stand out. This is one of those films that will inevitably get lost in the cracks of mediocrity, and that’s unfortunate because the film does pride itself on some moments of pure heart that these characters find in the most obvious of places that films rarely take us.

Those places to sort of speak, is in the emotional investment of animals within the movie. The film’s production value isn’t one that should be easily skimmed over without great discussion, and proves that the film at least boosted ambitious visuals where its screenplay lacked. An important observation here is the use of live action animals that are rarely or often never subjected to CGI effects work. The only moments when the computer kicks in is when these furry friends are involved in the dangerous situations that envelope them. Otherwise, the involvement of exotic animals, particularly in the opening act of the movie, is one that constantly reminded how no cent was spared at getting over the immensity of this zoo. On the subject of such a location, the vintage styles of European architecture showcased an insightful blast into the past, even so much as offering an obvious metaphor with the Jewish captives who reside within its walls. The fact that these people now live behind cages of bars relayed to me two things; how they now live as prisoners, and the very manor of how they are subjected to being figurative animals in the eyes of the Nazi entity. The film isn’t afraid to offer that comparison to humans and animals, and at its heart, the answers feel more harrowing than one can imagine. A blurred line that further jumbles the concept of all men and women are created equal.

As for the script, the film has more than enough problems compensating for a lack of details that derive this film of ever living up to this incredible story. The first act has the animals that I mentioned, but just that. There’s very little focus on the world outside of this family business that has a lot of bearing on what follows. Sure, the Nazi’s invade, but the how and the why are just sparse details in the atmospheric dread that is virtually non-existent. The second act is definitely the weakest section of the film for me, and a lot of that I believe focuses on the enticing subplots that the film pulls out of thin air, and then doesn’t fully engage in. There are moments in this film where these directions are hinted at, and then never mentioned again, backing off in a way that shows no telegraphing for these characters and their respective stories. One could look at this and think that means it’s unpredictable, but it’s more so sloppy because there’s no logic for a right turn to exist if it doesn’t lead anywhere to begin with. The final act does pick it up and pays off so-so in the conflicts that we have been waiting on for nearly two hours. The final half hour of the film does come to a head, but I never felt satisfied on the winnings for the grave emphasis on the gamble that the movie took leading up to it. It all feels manufactured, and the polarizing antagonists don’t feel as intimidating when the film has very little to say for them.

I wanted to discuss some of the time jumping and editing sequences in the movie because they over-convolute on more than one occasion, and could possibly leave the audience fumbling at scenes that jarringly fly by without warning. One scene in particular is Chastain’s character becoming pregnant and having the child in a virtual montage that could’ve used more attention. In fact, this kind of pacing does very little favors to someone trying to keep up with story continuity. Seven years pass over the course of this film, and there’s no change in hairstyles, no weight losses or gains, no remote stress or weathering on the face of our characters. My point is that the great lack of believability rears its ugly head, so much that I almost forgot on more than one occasion what particular year at that point of the story were we in. The editing does sometimes feel jumpy, cutting scenes much too quickly, instead of letting them breathe in the winds of clarity for the audience. There were times when I felt that scenes would go on for too long, yet some scenes that could’ve used more time for development, and this problem constantly kept it difficult to invest myself fully into these characters.

At least the performances brought a lot to the table for me to feast on. Jessica Chastain continues her push as one of the very best actresses going today, juggling a blend of genuine heart with character immersing that astounded me through two hours of delivery. As Antonina, Chastain garnered a German accent that not only sounded authentic, but also stood the test of time with Chastain being in roughly 85% of the scenes in this film. Her accent never cracks once, and that is certainly a testament to her undying commitment to her rich craft. Daniel Bruhl was also riveting as the antagonist of sorts for the face in this instance of the Nazi party. Daniel seems to be one of those guys who is making a living off of being the creep in every movie, and his turn as Lutz feels like his greatest triumph to date. There’s clearly not much exposition for his character other than the typical Nazi villain, but Bruhl constantly makes the role his own with shifting eyes that do more than narrate some sinful intentions that his character feasts upon.

The Zookeeper’s Wife has earnest intentions, but ultimately lacks the kind of urgency in danger, as well as impact in lasting impressions that earn it a seat at the ambitious dinner table of World War I dramas. The performances of Chastain and Bruhl grant us plenty of chances to catch a glimpse at greatness, but the muddled, dry, and often times poorly paced screenplay does little justice to two heroes who shaped a chapter in fighting back against religious and geographic bigotry. There’s plenty to like and dislike about it, and that’s why its rating falls right in the middle.

5/10