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SPOSITA'S
RISTORANTE
crimes, it seems saturated with a vis-
cous substance that may be nothing
more sinister than tree sap, but which
unmistakably echoes the more trau-
matic sights she has already encoun-
tered.
Which brings us back to the
Brothers Grimm and the often-dis-
turbing nature of the fairy tales that
Lore indirectly invokes.
It is not, one suspects, a coincidence
that in Seiffert's book, Lore tells her
grandmother that they have come
"from Bavaria: a much less evocative
choice of words than the screenplay's.
Shortland's use of fog filters and soft
focus gives the story a dreamlike qual-
ity, rendering even the most wretched
of the battlescapes hallucinatory.
(The work of cinematographer Adam
Arkapaw gives the film its nerve-
wracking core.)
When you combine the film's overall
look with Shortland's rhythmic choic-
es, emphasizing the oddest details
and the children's sluggish, reluctant
forward progress, the result is unset-
tling, disturbing in its inversions of
normality.
Shortland doesn't insist on the fairy-
tale reading. She consciously under-
plays opportunities to shove it to the
forefront. Motifs are only repeated a
couple of times, leaving it to viewers to
connect the thematic dots.
But when Lore finally enacts an
emotional break with her family's dubi-
ous heritage, she does so in a literally
shattering gesture that destroys the
resonance of the childhood tale and
suddenly, startlingly transforms the film
into a potent metaphor for the troubles
that will face coming generations of
German children and adults.
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Extras! Extras! from page 43
and her daughter's friends. Sam had
told Franco that the young women
loved the actor's smile, and Andrea
noticed the actor's smile widen each
time he talked to the college students.
"Usually these girls can't stop talk-
ing; Andrea says. "With him around,
they had a hard time speaking."
Among Andrea Rubin's favorite per-
sonal Oz memories are having Franco
and Braff introduce themselves early
in the process and instantly agree to
being photographed with her.
She found it enlightening learning
about Kunis' Russian-Jewish back-
ground directly from the star and was
touched watching the real-life wed-
ding of producer Grant Curtis on the
opulent castle set. (Other Jewish cast
members include Franco, Braff and
Weisz.)
Before Sander Rubin went on set for
his camera time, he had to be ready
for makeup at 2:45 a.m. and be avail-
able 7 a.m.-10 p.m. for filming and
re-filming.
"It was not so much making me up
to look better as it was making me up
to look dirty:' says Sander, 24, a third-
year medical student at Michigan State
University, Sam's alma mater. "I also
needed a hairpiece and mustache:'
Sander, a graduate of North
Farmington High School and the
University of Michigan, has been on
Spider-Man sets but found the Oz sets
so much bigger.
"My friends were all starry-eyed:'
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says Sander, who spent winter break
with buddies enjoying accommoda-
tions at Sam's California guest house.
"The actresses I met looked better
than they look on screen, and it's so
different seeing them in person.
"I learned to appreciate the amount
of detail that goes into making a movie.
There are 50 things going on at once:'
Both niece and nephew of the direc-
tor emphasize how much their uncle
loves the state and wanted to help the
economy by making the motion pic-
ture in the area.
"I think my uncle is honoring The
Wizard of Oz," says Sander, who,
along with his sister, has seen the Judy
Garland version several times. "I think
he's really tipping his hat to it:'
Rose liked the directorial style of her
uncle, who also has written, produced
and acted. She noticed that he was
relaxed with the major cast members
and encouraged their comments on
scenes about to be shot. He seemed to
want to make them feel comfortable.
Andrea Rubin looks back on her Oz
experience with one overall impres-
sion.
"It was funny to see Sam in charge
of all those people on such large
sets:' she says. "But, he's still my little
brother:'
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