Defiance, a new WWII set film, turns the tables on the popular sub genre by combating the stereotype of the Jewish victim, in this overtly glossy yet engaging portrayal of true life Jewish resistance fighters.   

Defiance is based on a true story of the legendary Bielski Brothers: courageous yet stubborn leader Tuvia (Daniel Craig); hot headed warrior Zus (Liev Schreiber); and introverted Asael (Jamie Bell).

Living in Nazi occupied Poland, the three venture deep into the dense Belarusian forest after their parents are slaughtered by rampaging Nazi troops. Soon they are joined by more fellow Jewish escapees. A community is formed deep within the woods, and as the months pass the community grows into a family, who together must find faith and strength to see through the elements, and fight off capture and death.

In portraying such rich historical figures, Craig and Schreiber put on thick Eastern European accents, flex their acting muscles, and turn in fine performances. Craig continues to find roles to remind those who knew him pre-Bond just what a great character actor he is, and the rest that there is more to him then his 007 persona.
Yet it is long time journey man Schreiber who impresses the most –and continues his trend of upstaging his more famous co-stars (The Manchurian Candidate; X-Men Origins: Wolverine) – with his portrayal of the vengeful middle brother.       

The relationship between Tuvia and Zus is an intriguing one. With a strong sibling rivalry felt from the first frame, it does take long for the brothers to buttheads over which tactic to adhere to: the former preferring the survivalist root; the latter itching to take the fight against the Germans. This leads to Zus leaving his brothers and allying with the Communists, who although different in ideology are really just goose stepping to the same tune of persecution and blind nationalism which the fascist’s adhere to, a great example of how combating empires really are flipsides of the same coin.

The film is directed by Edward Zwick, who is something of a man of war, with Defiance his latest venture into the battlefield, following on from Glory, The Last Samurai, and Blood Diamond.

Zwick’s romantic directorial style is complimented by cinematographer Eduardo Serra’s vibrant photography, which captures the lush forest green of the films main setting, and provides an eerie beauty in the crippling white winter chill that becomes an essential element in the survival of these characters.  

The issue of morality when facing extermination permeates throughout Defiance. A scene which involves the capture and subsequent murder of a Nazi soldier by a group of battered and anguished Jews poses the question: where does the option of right and wrong; good and evil come into the equation in times of war?

The man was unarmed and outnumbered. But then again, he was a member of a regime dedicated to the liquidation of the people of whom his accusers are a part of.

Is mercy an option? Or is revenge the only valid choice? 

Zwick’s penchant for slick over grit can irritate, but the dense themes approached in Defiance make up for its “Hollywood” take on this little known piece of WWII history.