The Divine Image, A Theological Film Analysis

Part I: Thick Description of Text

Well. It sure isn’t a romantic comedy. No light humor accompanies The Boy in the Striped Pajamas. Perhaps the only high-spirited scene in the entire film is that of the opening credits, but even the joy of watching three small boys run around playfully is tainted by the setting of Berlin during the rule of Hitler and realization that they naively pretend to be Nazi combat aircraft. Maybe that is the whole point of the film. Childlike innocence shines like a hurricane lantern in a dark room, and those who crush its casing are inflicting pain not only on the source of light, but everyone in the room. "Childhood is measured out by sounds and smells and sights, before the dark hour of reason grows," proclaim white words on a black screen quoting the British poet John Betjeman. This is how the story of Bruno begins… this is how the story of Bruno ends.

Reading this cultural text from foreboding beginning to tragic end, cannot be an isolated endeavor. There are entire “worlds of meaning” as Kevin J. Vanhoozer talks about in “What is Everyday Theology: How and why Christians Should read Culture.” There is a world behind the text full of artists and history. Although it is a fable, the film inhabits a real time and place. By 1940 Nazi’s had already established Jewish concentration camps, and by 1942, they had begun to implement Hitler’s “Final solution.”[1] Genocide was reality. Bruno’s world exists because real people in real history acted in evil ways.

John Boyne first told this fictional story in his award winning children’s book of 2006. Mark Herman, who both wrote and directed the film, adapted it. Boyne, Herman, and David Heyman (producer) worked closely together on this project. They agreed to explore the dark heart of the Nazi era in the effort to enlighten new generations so that they neither forget nor repeat what happened.[2] Herman elaborated: “Whilst it is a Holocaust story set in the 1940’s Germany, for me, it’s timeless. With all the conflicts going on today, whether in Rwanda, Somalia, Palestine, Israel, Darfur, Zimbabwe, or Iraq, this story seems to me to be as relevant today as at any time in history... That children have the potential and the ability to overcome differences in culture and identity; that governments, institutions and the media can and do cultivate conflict and distrust- these are timely ideas with universal relevance and I think this story makes them accessible to anyone.”[3] Hayman was even more specific about his perspectives on the film’s message. He said, “This is the story of an ordinary family. Ordinary people who through ignorance, innocence or unquestioning obedience to authority – no matter how appalling the demands of that authority – recognizably embody Hannah Arendt’s ‘banality of evil.’”

The film’s producer references a concept described in Arendt’s book Eichmann in Jerusalem: A Report on the Banality of Evil. “[Arendt] insisted that only good had any depth. Good can be radical; evil can never be radical, it can only be extreme, for it possesses neither depth nor any demonic dimension yet — and this is its horror! — it can spread like a fungus over the surface of the earth and lay waste the entire world. Evil comes from a failure to think. It defies thought for as soon as thought tries to engage itself with evil and examine the premises and principles from which it originates, it is frustrated because it finds nothing there. That is the banality of evil.”[4] The makers of The Boy in the Striped Pajamas recognize this as a defining view driving the film’s message.

In summary, the world behind the text is one in which its creators voice concern about the present repetition of previous atrocities, the potential of governments and institutions to corrupt, and a perceived human tendency to unthinkingly follow authority (The Banality of Evil).

With that foundation, it is now appropriate to study the world of the text. This dimension of film analysis seeks to understand what the text is saying and how it is saying it. In this Holocaust drama set in Germany, the creators demonstrate their values and concerns through juxtaposition. Riddled with cruelty and dehumanization, Nazi propaganda takes center stage in nearly every scene. In contrast, Pavel and Shmuel show grace and forgiveness. Through the eyes of Bruno’s discovery and exploration, the filmmakers reveal these values. On a general level, the text expresses concern for the sanctity of all human life.

Bruno’s story begins without worry or care. He is proud of his father, thriving socially with friends, and happy in his home. Freedom and innocence initially characterize the film’s tone. As the story progresses, Bruno is moved away from his friends, restrained to his house and front yard, and forced to listen to a tutor who pushes Nazi propaganda. His caged feeling is illustrated in a scene where he is seen sitting behind the bars of the staircase as if in jail. Adventure books, which he also uses to escape, are looked down upon. Even more confusing is that his sister Gretel ignores him, throws away all of her dolls, and becomes obsessed with Nazi literature. She looks just like the Nazi aviator from the poster hanging on her wall.

From the window in his room, Bruno sees what he believes to be a farm with lot of people in striped pajamas. He has no idea that it is a death camp run by his father. When he asks about the “farmers,” he is told that they are Jews and not real people. Juxtaposed with this answer is Pavel, a sorrowful, silent, shuffling man from the camp sent to care for the garden. When Bruno falls from a tree swing, Pavel gracefully bandages him and tells him that he used to be a doctor. No one ever uses Pavel’s name except Bruno. In this exchange, the filmmakers acknowledge, through the eyes of a child, Pavel’s humanity and goodness.

Finally, Bruno sneaks out of the compound through a shed window in an effort to break away from the cold lighting and hard edges that characterize his Nazi home. He runs in liberty. He zooms through trees. Joyous, upbeat music swells. The artistry is a stark contrast to the oppressive world he runs from. Upon reaching the camp, he meets Shmuel. Separated by a fence, the boys become friends. Daily, Bruno sneaks out of his home to play with Shmuel next to death. Shmuel is innocent and forgiving. The film’s creators express his humanity in these exchanges with Bruno. There seems to be no reason for the Nazi hatred and cruelty towards him. Everyone in the camp has numbers tattooed on their arms and are not called by their names. They all look the same with shaved heads and uniforms. They have been dehumanized so that they can be exterminated without guilt.

Bruno’s mother finds out that instead of an internment camp, her husband runs a death camp and is overwhelmed with horror. Her reaction mirrors that of the filmmakers. So does Bruno when he kicks away the book his tutor gave him. Bruno knows that his father and the Nazi’s claim the Jewish people to be inhuman… even evil. He tells Shmuel that they are supposed to be enemies, but instead of aligning with that concept, he decides to crawl into the camp to help his friend find his father.

Unknowingly, the children march to a gas chamber and are killed. The last shot of the two children is one that depicts them holding hands, confused and terrified. The message of the film hinges on this moment. Bruno recognizes Shmuel as his friend. Shmuel is as much of a person as Bruno.

The film ends with chance for repentance. Ralph agonizingly screams his dead son’s name in realization of what has happened. The question is whether he also screams for all of the people in the room. It is the film’s invitation to the viewer.

This leads finally to the world in front of the text. The film’s message is clear, but what sort of person does the viewer become if they accept it? If the message is lived out, the carrier of the message must recognize the humanity of all people. More than just not doing something to harm the innocent, they must embrace others as friends. Both word and deed bear the message. Innocence, exploration, freedom are highly valued while cruelty, stagnation, and isolation are abhorred. The person who adopts this world of meaning is concerned about the lives of others and is outwardly oriented. Rather than an island of independence, they care about community. As for how they view themselves, humility drives self-understanding. Just as Bruno did not consider himself above Shmuel, whoever accepts that message must abandon pride and ethnocentrism.

Part II: Theological Interpretation of the Text

What it means to be a human, made in the image of God is a vital Christian doctrine. It affirms that every person is of equal worth and is not only known by God but also called by him. This is self evident in Scripture (Galatians 3:26-29, Ephesians 1:4-10). Stanly Grenz addresses the exact nature of the divine image as a special standing, and special community, pointing towards an eschatological reality.[5]

The Boy in the Striped Pajamas obviously rejects the Nazi view of the human person. The rest of this paper will compare and contrast the film’s message with that of Christian Doctrine. “As humans created in the divine image, we are the recipients of Gods love. This means that each of us has special worth in God’s sight. We are also the recipients of God’s commands, which entails a special responsibility… God has entrusted to us a special task with reference to creation, namely, that we serve as his representatives. We are to reflect to creation the nature of God.”[6] Rather than showing created beings the love and grace that characterize God, Ralph is cold and unmoved. He does not live up to this responsibility. The filmmakers contrast his actions with the grace of Pavel and Shmuel. First, Pavel bandages Bruno’s knee despite association with the people who imprisoned him. Second, Shmuel forgives Bruno after he told a lie that resulted in Shmuel being beaten. These instances speak of the divine image appropriated… life in its truest sense. Despite oppressive conditions, the filmmakers weave sunshine into the scenes with Pavel and Shmuel. Under persecution, they retain their innocence. It is not so with Ralph. Rarely is he seen out of his stuffy dark uniform and geometric office. Something about his live is not being fulfilled. The Christian watching the movie cries out to him, “Wake up, O Sleeper, rise from the dead, and Christ will shine on you!”[7]

Moreover, the film expresses a rejection of self-sufficiency and isolation that parallels Grenz idea of special community. He says, “The divine image is a shared, corporate reality. It is fully present only in community… Only in fellowship with others can we show forth what God is like, for God is the community of love- the eternal relationship enjoyed by the Father and the Son, which is the Holy Spirit.”[8] The film’s plot gains significance when Bruno leaves his home to find a friend “on the farm.” His loneliness is practically tangible until he meets Shmuel. Joining his friend in his death is the ultimate expression of love. Although they are confused and unknowing, community is proved in their simple holding of hands. Even in the gas chamber, the filmmakers imply that these children are more alive than their murderers.

Ralph has seemingly no love for others, even as his wife weeps, his face is hard. Nazism doesn’t seek unity with others but sees diversity as a problem deserving the “Final Solution.” “The eye cannot say to the hand, "I don't need you!" And the head cannot say to the feet, "I don't need you!" On the contrary, those parts of the body that seem to be weaker are indispensable, and the parts that we think are less honorable we treat with special honor. And the parts that are unpresentable are treated with special modesty, while our presentable parts need no special treatment. But God has combined the members of the body and has given greater honor to the parts that lacked it, so that there should be no division in the body, but that its parts should have equal concern for each other. If one part suffers, every part suffers with it; if one part is honored, every part rejoices with it.”[9] If the divine image is only fully realized in community, then disunity with others is a severe violation of spiritual reality. The Christian is not only called to acknowledge his or her need for community, but to seek unity with everyone (even enemies). When Bruno tells Shmuel that they are “supposed to be enemies” but continues to play with him, the filmmakers lend description to this Biblical concept.

Finally, the divine image as an eschatological reality may be further clarified as the “universal potential to actualize or live out the goal God intends for our existence.” Grenz goes on: “Although in the sense we may declare that all persons are in the image of God, it is in Christ that the divine image is fully revealed… Transformation into the image of God is a process which we experience beginning with conversion and lasting until the great eschatological renewal which will bring us into full conformity with the image of God.”[10] This dynamic view of journey to completion is hinted at in Bruno’s craving for discovery. His desire for exploration indicates a longing to learn and transform. He is constantly changing. During these moments music swells as if the filmmakers are egging on his curiosity.

The film’s overt juxtaposition seems to demonize Nazis and glorify those opposing them. Sometimes it even seems like the creators imply that because of their action, the Nazi’s have lost their humanity. As the plot progresses, Ralph becomes harder and more distant. His wife calls him a monster that even his mother cannot love. When Pavel is being beaten just outside the room where is family is eating dinner, Elsa begs him to stop the violence. As she sobs his name it is as if she implores him to be human. He does not respond. Shmuel and Pavel respond to their names even if the Nazis have tried to take them away. Moreover, the filmmakers never allow the viewer to see any sort of guilt on their part. For the purposes of the film, they are completely innocent.

Still, Scripture tells us that all have sinned and fall short of the glory of God.[11] And as stated previously, all are equal in God’s eyes. If everyone is created by God with inherent worth, need for community and eschatological potential, then a message in which people who do evil (aka: the Nazis) are somehow not human contradicts reality. All are human. The good news of the gospel is that “while we were still sinners, Christ died for us.”[12]

Part III: The Voice Behind the Analysis

I, Rachel Skye Berger, consciously choose to honor God through loving his children… all of them. He died not only for the oppressed, but for those who oppressed them. Sin invades everyone’s body. “As it is written: ‘There is no one righteous, not even one.’”[13] The message of the film I appropriate on the basis of redemption. Ralph has a chance. The last sense gives hope. A second chance is given even if it is not received. If I reject the film’s message, then I also reject Scripture. Picking and choosing who has worth can never be a human task. “There is only one Lawgiver and Judge, the one who is able to save and destroy. But you—who are you to judge your neighbor?”[14] I am called to community and unity. The good news is that God in his glory will reconcile all of humanity and all of creation to himself.

Come Lord Jesus. God, make us one as you are one.

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[1] "Holocaust Timeline." The History Place. http://www.historyplace.com/worldwar2/holocaust/timeline.html (accessed April 11, 2010).

[2] Miramax Films. "About the Film." The Boy In The Striped Pajamas. http://www.boyinthestripedpajamas.com (accessed April 11, 2010).

[3] Ibid.

[4] Arendt, Hannah. Eichmann in Jerusalem: A Report on the Banality of Evil (Penguin Classics). London: Penguin Classics, 2006.

[5] Stanley J Grenz, Theology for the Community of God. (Grand Rapids: Wm. B. Eerdmans Publishing Company, 2000)

[6] Ibid.,177

[7] Ephesians 5:14

[8] Grenz, Theology for the Community, 179

[9] 1 Corinthians 12:21-26

[10] Grenz, Theology for the Community, 178

[11] Romans 3:23

[12] Romans 5:8

[13] Romans 3:10

[14] James 4:12