THE SONG OF NAMES

Canada, 2019, 110 minutes, Colour.

Tim Roth, Clive Owen, Catherine McCormack, Darin Howell, Jonah Hauer- King Stanley Townsend, Misha Handley, Luke Doyle, Max McMillan, Julian Wadham, Saul Rubinek.

Directed by François Girard.

Ultimately, the audience discovers the meaning of the title, Jewish musical composition incorporating the names and backgrounds and families of those killed in the concentration camps, sung at times in sad gatherings, emerging here as a way for one of the central characters to discover what happened to his parents and sisters. The composition is called The Song of Names.

The action of the film takes place in several time periods. There is 1939 when a Polish father visits London and entrusts his talented violinist young son, Dov, to the care of a British businessman who promises to bring him up in his Jewish faith and to foster his talent. This businessman also has a son, Martin. As the war progresses, especially the blitz, the two boys are initially wary of each other but find common interests and a strong friendship. The boy also plays the violin to those crowded in the underground stations, playing a rival duet with another violinist (who sadly finishes in a mental institution in Poland, Dov eventually playing the violin for him there).

There is also action in the early 1950s, Dov becoming a successful violinist, a strong bond with Martin in friendship, also with Helen, a mutual friend. There are rehearsals for a special concert as the film opens with the father fretting when Dov does not arrive for the concert and it has to be cancelled. It is revealed at this ruined the businessman who still remain devoted to Dov even on his deathbed.

The rest of the action takes place (although there are intercuttings and flashbacks all the way through). In 1986, Martin stirred again to search for Dov, tracking down contacts when he returns to visit Poland, hearing of what happened to Dov there, the search for his parents, playing his violin on the site of the Treblinka concentration camp. The journey then sends Martin to New York, eventually tracking down Dov who is living in a very Orthodox religious community (after a scene where, as a teenager, in the synagogue, he solemnly cut himself off from God and all religion). Dov begins to explain, Martin punching him. There is an explanation of what he did when he left the rehearsal, slipped on the bus, found himself in the Jewish community who are able to lead him to the Rabbi, to The Song of Names and then to Poland.

The upshot is that Martin declares Dov owes him a concert and Dov agrees, come to London, meeting Helen again, causing some anxiety, but playing the concert to applause, and finally playing his composition in memory of the concentration camp victims and his parents – and then leaving a note and disappearing.

This is a significant star vehicle for Tim Roth, a cameo, including violin playing, for Clive Owen. The film was directed by Canadian François Girard, noted for his film on pianist Glen Gould and The Red Violin.

1. The title? The explanation? The ritual performance and its effect?
2. A Jewish story, European anti-Semitism, World War II, concentration camps, refugees in England, the British story? The extension to the United States? From 1939 to 1986?
3. The three time eras, the film moving backwards and forwards, further elaboration of characters, plot complications, and the final resolution?
4. 1951, the atmosphere for the concert, Mr Simmons, anxiety, Martin and the reassurance and help, everybody waiting, tension, Dov not appearing? The effect on Mr Simmons, bankrupt, his death, yet committed to Dov? The effect on Martin? And for 35 years?
5. The 1939 story, Dov’s father and the Jewish Polish background, leaving his son in London, for his tuition, skill at violin, learning Hebrew, the Jewish traditions? Mr Simmons, welcoming, the philanthropist, Dov welcomed into the family? The two boys growing up, the experience of the war? The blitz, the shelters, the young violinist rival playing the violin, Dov and the competitiveness, the applause?
6. The friendship between Martin and Dov, the initial rivalry, jealousies, Dov and his skills at playing, their parents, the fights, the bond, the growing friendship? Dov and tuition, playing? His moodiness, domination, arrogance? The effect for Martin? The buildup to the concert, the rehearsals, Dov at the rehearsal, the mystery of his disappearance, Helen and her later explanation, Dov on the bus, asleep, the Jewish area, asking directions, taking him to the synagogue, friendship and support, the story of the names of the survivors, Treblinka, the book, the chant, Dov hearing of his parents? Going into the seven days of mourning, his disappearing?
7. Martin, 1986, going to Newcastle, the music competition, the boy playing the violin, memories of Dov, the decision to go to search? Helen, support and scepticism? The visits to Poland, tracking down the name, the family, Dov and the young woman, taking Martin to Treblinka, the concert at Treblinka? Explaining his departure to America?
8. The visit to New York, to the shops, inquiring about violins, tracking Dov down? Arriving at the apartment, Dov’s reaction, their driving, parking, Martin punching him, Dov and the explanation, and the flashbacks?
9. Dov in his youth, philosophical, not-religious, renouncing God in the synagogue? His saying that God found him after four years? Moving to the community in New York, Orthodox, secluded, sense of community and subjecting individuality?
10. Martin, that Dov owed him a concert? Dov’s promise? Two months? Helen sceptical, Dov and his arrival, excluding Martin from the rehearsals, the program? The night, late arrival? The audience, the performance, the applause? Dov’s reaction, downplaying his performance? Going on stage, Orthodox dress, the performance, the memories of the concert at Treblinka?
11. The note, the disappearance, Dov’s regrets about Martin’s father and his bankruptcy? Apologies? But not wanting to be found? And the impact on Martin and his life’s quest to find Dov?