Where Is Anne Frank

As distasteful as it may seem Anne Frank has become some an industry in Amsterdam, if not around the world. Apart from the museum and her home there is a university, bridge and many other very worthwhile things that may help to keep the spirit of this remarkable young woman in the public consciousness.

With a story as well-known as Anne’s – even if only the bare basics – there was an imperative to do something fresh without losing the poignancy or dilute the tragedy. And that is what writer and director Ari Folman has have done using Kitty (Ruby Stokes) who was Anne’s imaginary friend in her diary. Released one night from the diary, Kitty out of time and confused steals it triggering a huge search.

In many respects this about Anne’s legacy so Kitty has the freedom of the city, to exist in the modern world (Kitty thinks that Anne is still alive, as she is only aware of what is in the diary) thus providing a vehicle for her wonder and comment. Which brings problems later on in the film.

Starting with core of the film when Anne’s father tells the family that for their own safety, they have to move into a tiny little area shared with another family, and later on another man. There’s little in the way of privacy and character differences are soon exposed. All the time Anne is busy writing her story and for those not familiar with the details it is a revelation.

The viewer is presented in this glorious animation by Ari Folman with a highly intelligent young lady who is perfectly aware of her own talents as well as her appeal to boys. The picture drawn is of a confident person who could be described as manipulative but really just assured in her mind and body.

Anne’s soaring imagination takes her from the drudgery of the hideaway eventually though we know what must come. The arrest and the images of the Nazis are some of the most harrowing that I have ever seen on film. Tall black-cloaked there’s something of the fascistic marching hammers from Alan Parker’s film of Pink Floyd’s The Wall: an unrelenting force of pure evil. The betrayal is skipped over but the detention, journey to the camps, and tragic ends are movingly realised.

But as well as the story is known, there appears to be fears on the part of the filmmakers it is passing people by, her life a mere footnote. This is vividly shown during a performance of her story in the Anne Frank theatre where Kitty sees the young audience more interested in their mobiles than what is on stage.

With that in mind the film could be biased towards those audiences for whom Anne Frank is a tragic name from WW II but little more. However, drawing on high profile contemporary humanitarian disasters such as the treatment of refugees, cooped up in a building surrounded by uniforms, and correlating that with the Nazi round-ups is for me problematic and bound to be contentious.

But if it does act as a stepping stone for people to look harder at Anne Frank’s story and the plight of the dispossessed then this should be seen as a success.