Analysis Of Markus Zusak 's ' The Book Thief '

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I n dark times a story of hope shines the brightest. This is most certainly the case with Brian Percival’s film adaption of Markus Zusak’s novel set in Nazi Germany: The Book Thief (2013). Brian Percival (best known for his work on the British television series Downtown Abbey) invests his own elegance and élan but it lacks the grit and grime of the truth After death strikes her family, Liesel Meminger (Sophie Nélisse) is adopted by tender-hearted working-class painter Hans Hubermann (Geoffrey Rush) and his harsh but loving wife Rosa Hubermann (Emily Watson). Initiating a fast friendship with neighbour Rudy Steiner (Nico Liersch), Liesel is taunted by her classmates on the first day of school for being illiterate. Out of the kindness of his heart: Hans promises to teach his adopted daughter to read and write - at a time when the Nazis have begun banning and destroying most literary works. Liesel accepts her new life with the Hubermann 's, going to school and savouring whatever books she can find. That is until a Jewish man shrouded in mystery, Max Vandenburg (Ben Schnetzer), with a connection to Hans’ past arrived at the Humbermann’s doorstep late one night. On the brink of death and persecuted by the Nazis, the Hubberman’s give Max refuge. Over the next few months Liesel and Max form a friendship and share a connection through the power of words; but with the beginning of World War II life for the Hubberman’s, the Book Thief, and their guest, becomes increasingly

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