THE BOY IN THE STRIPED PYJAMAS ANALYSIS:

THE JUXTAPOSITION OF CHILDHOOD INNOCENCE AND ANTI-

SEMITISM INTO THE TRANSITION OF REALITY IN THE BOY IN THE STRIPED

PYJAMAS

INTRODUCTION

 BACKGROUND OF FILM

 THEMES OF MOVIE

 THESIS STATEMENT AND FOCUS OF PAPER

o Thesis Statement: The Boy in the Striped Pyjamas is a twin

perspective film that narrates the horrors of the Holocaust from the

eyes of a young boy, which in turn, gradually transitions into the

perspective of the adults who tackle this inevitable reality head on.

Set in World War II, the Boy in the Striped Pyjamas stars Asa Butterfield and

Jack Scanlon in a historical tragedy film based on John Boyne’s novel of the same

title. Under its direction is Mark Herman alongside David Hayman in production. The

story unravels from the innocent eyes of young Bruno, the youngest son of a

German commandant in Nazi Germany. He forms a friendship with Shmuel, a young

Jew the same age as he. Provided the setting and main subjects of the film, the

film’s main themes are anti-Semitism, childhood innocence, and how the two clash

before our eyes as a gradual rise in tension. Despite this, a certain inevitable

presents itself late within the film and in turn, gets glossed over by Bruno’s hopeful

and youthful perspective to the events occurring in his life at that moment in time. His

father, being the authoritative figure that he is – both in the family and the military –

asserts the ideas the film presents all throughout, though, this may break and be
challenged near the latter portion of the film, as he sees his family fall due to the

consequences of his choices and actions; these of which, advertently affect Bruno,

his mother, and sister altogether.

As previously mentioned, this film takes place in World War II, specifically, in

Nazi Germany, with the Holocaust as its prime subject and theme. The word

“Holocaust,” from the Greek words “holos” (whole) and “kaustos” (burned), was

historically used to describe a sacrificial offering burned on an altar. Since 1945, the

word has taken on a new and horrible meaning: the mass murder of some six million

European Jews (as well as millions of others, including Gypsies and homosexuals)

by the German Nazi regime during the Second World War. It was the systematic,

state-sponsored persecution and murder by the Nazi regime and its allies and

collaborators. Jews were deemed inferior to the German racial community and were

considered an alien threat. In late 1941, Nazi officials opted to employ an additional

method to kill Jews, one originally developed for the “Euthanasia” Program:

stationary gas chambers. Between 1941 and 1944, Nazi Germany and its Allies

deported nearly three million Jews from areas under their control to Nazi-occupied

Poland.

Nazi anti-Semitism was rooted in religious anti-Semitism and enhanced by political

anti-Semitism. To this the Nazis added a further dimension: racial anti-Semitism.

Nazi racial ideology characterized the Jews as Untermenschen (German:

“subhumans”). The Nazis portrayed the Jews as a race and not as a religious group.

Religious anti-Semitism could be resolved by conversion, political anti-Semitism by

expulsion. Ultimately, the logic of Nazi racial anti-Semitism led to annihilation.

anti-Semitism and childhood innocence. Contradictory to one another yes, but a

cohesive concept that was executed incredibly by Mark Herman.

Thesis Statement:

Given the set themes and background of this novel adaptation, The Boy in the

Striped Pyjamas is a twin perspective film that narrates the horrors of the Holocaust

from the eyes of a young boy, which in turn, gradually transitions into the perspective

of the adults who tackle this inevitable reality head on, immersing the viewer into

such consequences.

METHOD

This analysis paper is a hybrid of two methodologies: Contextual Analysis and

Mis-en-Scene, the latter being a form of methodology that focuses on the audio-

visual aspects of the film such as, but not limited to: cinematography, colour grading,

music, and more. Contextual Analysis, on the other hand, focuses on aspects such

as the script an story-telling techniques executed within the film, and the overarching

theme that silently sits in the background before abruptly introducing itself in its own

form and fashion, which may seem as harsh and rash, but at the same time, taking

its time to let the viewer soak in who and what it is: the Holocaust. The audio-visual

elements of the film emphasize the childhood innocence presenting itself before

slowly transitioning into a reality external to Bruno’s perspective.

The film begins with a quote from John Betjeman that states:

“Childhood is measured by sounds and smells and sights, before the dark hour of

reason grows”

The quote perfectly setting the theme for the rest of the film’s progression. It then

fades to black and bleeds into a billowing sort of red, with ominous music playing in

the background, before playing light and positive notes for a brief moment as the title

presents itself, the music then bleeding into an ominous tone once more to reveal a

Nazi flag.

The scene opens up to Bruno and his friends “flying as war planes” as they

run home. The music is bright and grand, the colour grade of the scene is warm and

faded, to provide a nostalgic façade for the viewer to experience. As Bruno and his

friends “fly” home, they run by what seems to be an apartment complex wherein

Jews call home or where some seek refuge. Nevertheless, the colour grade was

warm, remaining constant as Bruno’s, but it was noticeable that the music seemed to

bleed into an eerie tone, wherein minor notes seemed to be played instead of

previous majors, for a small bit. As the angles pan towards the mass collecting of the

complex’s residents, the music transitions yet again to tones similar to when Bruno

was present, which signifies a “life goes one” sort of predicament.

The warm colour grade scene throughout a majority of the time represents a certain

nostalgia or life or innocence. Whenever Bruno is in frame, the cinematography

takes into consideration the perspective he has towards the current on-goings within

the scene.
The b-roll, or supplementary footage, that cuts in between Bruno coming home is

what seems to be his family home preparing for a party, the occasion upon which

Bruno’s father was promoted to a higher position in the military. Consequently, this

meant that they had to move away, and the party was a double-edged sword of a

promotion, and a sending off. In the said event, Bruno’s father could be seen making

his way downstairs, the German national anthem taking the lead over the jazz that

played beforehand. It cuts back and forth between Bruno’s perspective and his

father’s, the latter being respected by the members adults, and Bruno who seems

baffled yet in awe of his father’s presence and authority of the individuals in the

room. As he steps down from the stairs, the music again plays back to the jazz, and

the party goes on. There is confrontation between his father and his grandmother,

the latter being against the current regime that the former works for.

The introductory scenes lay the foundation for the rest of the film. Bruno is but

a small child in an era upon which his innocence is but a small hope of his own, in a

time wherein a looming and authoritative figure such as his father, a symbol of the

current regime, rules such a highly regarded position. These perspectives separate

themselves, wherein one knows its place in comparison to the other. It sets how the

camera and cinematography react to the presence of one or the other: Bruno being

warm, and nostalgic tones, light music and a general uplifting façade, whilst his

father, or other authoritative figures that embody the Nazi ideology is presented with

ominous music, a contrasting colour grade of juxtaposing colours such as warm

tones with blue-grey tones.

This clash of perspectives carries over throughout the film. As Bruno’s family moves

into their new home, the music is eerie once more, but the moment Bruno steps out

of the vehicle, the music changes, matching his awe and curiosity of the new house.
In their new home, Bruno settles into his room and looks out over the window. Set by

blinds, his eyes peer over to what he says is a “farm”. The camera slowly zooms into

his eyes, symbolizing internal processing Bruno has as he looks over to the “farm”.

Here, his blue eyes are highlighted, as opposed to the view these eyes are focused

on at that moment.

At the time of Nazi Germany, there were a certain set of standards the country

desired to have to promote the Aryan race, or the superior race; one of those

standards or requirements was that one must have blue eyes, ones such as Bruno’s.

The colour grade is different though, wherein a contrast of faded teal and warm

colours present themselves and ominous music may be heard. This bleeds into the

next scene, which is a quintessential portion of the film, further solidifying Bruno’s

perspectives to the world around him. He mentions this farm to his mother who was

unpacking the kitchen. He mentions that they were strange, in a way that he was

about to explain before being abruptly interrupted by a Jew, carrying vegetables

before going back to work. The music that played in the background as Bruno

discovers the farm plays one more time as he interacts with his mother.

Bruno: I told you they were strange.

Mother: Who?

Bruno: The farmers. They wear pajamas.

Straight after his interaction with his mother, Bruno has a conversation with his

father. The colour grade is different now, with muted mid-tones, grey and dark blue

reminiscent of the soldiers’ uniforms carry the scene. The distance between Bruno

and his father may symbolize the vast understanding one or the other has about the

certain predicament they find themselves in, once more emphasizing the vast
difference of one and the other to one’s perception of the on-goings at the moment,

Bruno being bright and curious, whilst the adults like his mother, father, and the

soldiers carry a much more pragmatic view of the world and society they live in at

that moment. The tutor provided for him and older sister further embeds these

ideologies into him through their tutoring sessions about history, wherein Bruno

further learns about the Jews.

The following scene is a pivotal moment in the film, wherein Bruno finds

himself exploring the forest, leading towards the concentration camp that could be

viewed from his view (a view now blocked with wooden planks). There he meets

Shmuel, a young Jew the same age as he. The camera zooms in on Bruno

throughout their interaction, with him asking various questions. The colours are

different, Shmuel and Bruno contrasting one another; the former resembling the

colours of the adults, and other individuals who follow the ideals of Nazi Germany

which in this case, the colour grade offers the perspective of the victim who has

fallen under this perception held against themselves by their surrounding society –

and the latter, presenting the same warm grade towards his new friend behind an

electrified fence.

Bruno slowly but surely learns of the life Shmuel has on his side, in comparison to

his. Shmuel has seen the extremes of a camp, holding almost the same pragmatic

views as Bruno’s family, considering the questions asked of him by his German

friend. Things such as his ID number sewn unto his uniform (or pajamas as Bruno

calls it), the electric fence to keep Jews from escaping (or to keep from animals

getting in). Bruno’s reaction when he discovers that Shmuel is a Jew is a great

rendition of a child’s realization, as if he was doing something wrong. The camera

home.

Bruno battles these ideologies and processes, quite so in the next session

they had with their tutor, wherein the book they study from cites reasons why the

Jew must be eradicated and removed from society, stating how they do not

contribute to the German society, and rather, they exhibit actions that threaten the

Fatherland. While Gretel – Bruno’s sister – reads these paragraphs, Bruno recounts

his interactions with Shmuel, the memories graded the same way the scenes

wherein adults are present are graded – contrasting warm tones with faded cyan, the

voices of his family and tutor echoing in his mind as he does so.

These set ideologies in Bruno now climax when Shmuel was called into their home

for work in the death of Pavol. As a friend, Bruno offered him food to eat, but as his

father’s soldier comes in and interrogates him, he was pressured to push Shmuel

under the bus, the ideals imbedded into him overriding in that moment. Soon after,

he peeks at a small video presentation for his father as they commence a meeting. It

covers the conditions of the concentration camps in a rose-tinted view, saying how

there are cafes and jazz nights for the Jews’ entertainment and comfort, a complete

and total lie and juxtaposition towards the reality Shmuel experiences behind the

fence. Here, propaganda may thoroughly influence one as young as Bruno but, his

childlike spirit carries on. The camera once more zooms in on his eyes, processing

the information before him.

At this point in the film, all colour grades are of the ominous sort; muted grades and

the faded teal and warm. Despite Bruno’s presence, these grades remain the same,

especially since his grandmother’s death, an event that has greatly impacted their
family. The transition now is the adult’s perspective or the viewer’s perspective

towards the film. If beforehand, we see and justify Bruno’s actions as his childhood

innocence, now at this point we are very much aware of the society around him and

how it could affect his views. This cascades into the ending, wherein Bruno slips into

the camp to help Shmuel find his father. In Bruno’s perspective, as a young child, he

merely acted upon what was right, to make up for his mistake to Shmuel. To the

adult’s perspective, or the viewer’s perspective, this is a terrible idea. The music that

plays at this, when Bruno and Shmuel first plan this, was the same score and notes

that accompanied the adults throughout the film.

There aren’t any warm tones anymore, nor are there light notes in music. An

ominous score plays throughout the rest of the transition to the ending. Bruno

dresses himself up in the Jews’ uniform and rounds the camp with Shmuel in search

of his father. Here, he slowly realizes what he got himself into, trying to back up from

their plan. He mentions the café he saw in the film presented at his father’s meeting,

a thought that ha his Jewish companion confused. In the end, he stuck around to

help, his innocence to the world around him proving to be what could be his downfall.

As they make their way to the huts, Bruno slowly realizes that what he saw in the film

was a lie as they pass by the areas familiar to him from the film itself. Once more,

the camera zooms in on him as he processes this. Nevertheless, again, he brushes

it aside to help Shmuel. Then, an officer orders everyone out of the hut, including the

duo. All the while, Bruno’s family searches for him endlessly, only to realize where

he had gone. As this happens, the film shows presents a premonition of where he

could be headed, as the scene cuts to his father noting down the layout for the gas

chamber in the camp. His wife bursts in, telling him that Bruno has gone missing.
 It becomes a race against time as the scenes cut back and forth from Bruno

to his family running to somehow get to the camp in time. His father runs throughout

the forest, his soldiers and family running behind, all the while calling his name.

Meanwhile, he and the Jews are marched in the rain, and are led down a set of

stairs into what seems to be a small hall before the gas chamber. The camera

follows Bruno and Shmuel at their level, emphasizing the congestion and chaos

around them. The colour grade is dark and brooding, Bruno’s positivity trying its best

to comfort himself and Shmuel.

Bruno: It’s alright. I think we’re just waiting in here until the rain stops.

Soon, they’re ordered to take off their clothes. Bruno and Shmuel follow accordingly,

whilst the men around them riot, seemingly having an idea of what’s ahead. An old

Jew eyes them both from afar, knowing what’s ahead. His eyes hold pity and fear,

and a sense of lost hope as he watches Bruno and Shmuel follow obediently, and

without a complaint. It was a shower as they said, no more, no less.

Soon, Bruno’s family comes upon his clothes outside the camp, his mother falling in

horror as his father races inside to manage to get him in time. As his father races in,

Bruno and Shmuel are shoved into the gas chamber, screams and rioting bellowing

from the inside. They are sealed shut, along with their fate. In their fear, they hold

hands, reassuring one another, despite the ongoing chaos around them. Then, the

lights around them die, and the SS man sprinkles the poison gas down a chute.

Bruno and Shmuel don’t seem scared, they seem more confused as to why

everyone around them was anxious and afraid. Then, it all goes to black.

The next scene is a still shot of the gas chamber doors from the outside, wherein

banging and screams may be heard, the Jews inside begging the to be let out. A
high-rise tone may be heard as Bruno’s father comes across the empty hut, the

camera zooming in on him before he races away. It then cuts to the gas chamber

once more, but this time, it is dead silent, the screaming and banging coming to an

end. Bruno’s father rounds around the corner just as the SS man finishes his duty for

that day and climbs down from his station. Realizing it was too late, his father

screams his name in anguish, his mother falling into a fit of agony right outside the

fence. His father internalizes this reality as her screams could be heard echoing

through the camp. The camera slowly zooms out from the gas chamber doors,

presenting the thousands of pajamas left behind. This symbolizes but a fraction of

the millions murdered in Nazi Germany at the time, but this one scene was enough

for the viewer to bask in the horrifying reality of history. If this many were murdered

in one go, how more in the millions murdered in the time of the War? The camera

remains still for a few moments, as if remembering those who lost their lives in the

gas chamber, before fading to black and the credits roll.

 MOVIE IN REGARD TO GLOBALIZATION

 OVERALL IMPACT OF MOVIE TO VIEWERS WITH REGARDS TO

GLOBALIZATION

 CITE IMPORTANCE OF THE MOVIE TO AN ORDINARY CITIZEN