The Holocaust movie “Son of Saul” is unlike every other movie ever made in the genre. While much has and will be written about the narrow focus on the principal actor’s face throughout the movie, words cannot properly convey the impact of the sounds infused in each scene.

Sounds of a Concentration Camp

The movie opens with the camera focused on a faraway subject, completely out-of-focus. The viewer struggles to make out the distant activity, and in a short time realizes that this is intentional, when the main protagonist of the film, Saul Ausländer, slowly walks into the middle of the image in sharp focus. He remains centered there for the remainder of the movie.

The close-up of Saul leaves the movie viewer with a sliver of background imagery. The war is mostly inferred by the rapidly passing images on the screen’s edges. The viewer’s mind is left to expand upon the brutality of the concentration camp where Saul works processing the dead for the Nazis.

The picture is further clouded by Saul. His face, which fills 70% of the frame, is expressionless. He is a walking dead, somewhere between the prisoners that arrive by train at the camp, and those “pieces” that he carts to the crematoria for burning. Saul shares no emotion and offers little in the way of dialogue with the other Sonderkommandos, those Jews tasked with helping the Nazis annihilate the Jews of Europe. The little dialogue that occurs, is choppy as the Sonerkommandos come from a variety of countries – Hungary, Poland, Germany, Ukraine – and do not speak the same language.

Devoid of strong visuals and dialogue, the movie provides rich sounds. There is no background music to direct our emotions.  The sounds are of the camp itself that fill the viewers’ ears. Sounds of babies crying. Mother’s screaming. Gun shots. Metal doors crashing closed. Rocks crunching under the feet of the Sonderkommandos. Papers scraping the floor, gathered for burning.

This is the dialogue of “Son of Saul.” These sounds transport the viewer from a modern movie theater to 1944 Nazi Europe. It is not surround sound; it is transportive sound.

The Last Sounds

Saul’s journey to an awakening begins when he sees a boy survive the gas chambers. While terminal, the child won a minor victory over the Nazis’ efficient killing machine. He beat the system.

This boy gives Saul some depth of vision. He gives Saul hope – not of his own survival – but that the humanity of the natural world can break through into the unnatural brutality where he exists. Saul’s mission is set, that with the help of a rabbi, the boy will not be incinerated like everyone else in the Nazi’s ovens, but will have a proper Jewish burial.

Saul risks his own life and those around him to fulfill this mission. He understands that he and the other Sonderkommandos are the unnatural walking dead who will soon die and be incinerated. However, the boy is nature’s dead, who must have a natural burial.

As Saul manages to get the boy, his “son”, out of the concentration camp ground, he loses the body in a river. The body is taken by nature and cleansed in water. Then, without the boy’s body, Saul’s mission and hope disappear and he almost drowns before being saved by another prisoner.

Saul sits with fellow Sonderkommando in a broken shed, all catching their breaths. The dialogue between them remains almost non-existent. As they sit, a new sound slowly is introduced that seems out of place.  The noise grows louder, but unclear. The viewer considers whether this is rain falling on the leaves of the trees in the forest. But the picture tells us that it is not raining. We see the men are damp, but it is from the swim across the river, not from raindrops.

Slowly the viewer becomes aware that the sound is not raindrops, but the crackle of the fire from the crematoria ovens.

The movie viewers witness Saul showing some expression at last, as the movie’s hero understands both his completed mission and fate: he helped his son escape to nature; his fate will be to burn with the other Sonderkommandos in the Nazi’s fire.

In the unnatural world where he exists, fire extinguishes water.  However, he achieved a moment of humanity, where the water was able to extinguish the Nazi fire.

Géza Röhrig who played Saul Ausländer, talking to the audience at
screening of “Son of Saul” sponsored by the Claims Conference, December 2015
(photo: First.One.Through)

In December 2015, the Claims Conference put on a special showing of “Son of Saul” in New York City. The Claims Conference obtains money from Germany and other countries that participated in the slaughter of Jews during the Holocaust, and distributes that money to the Holocaust Survivors as well as educational projects like this movie.

The Executive Chairman of the Claims Conference, Greg Schneider, interviewed the film’s star Géza Röhrig who played Saul Ausländer at the end of the screening. Via Skype, Géza relayed that the sound editing of the movie took over five months, involving hundreds of man-hours to create the environment the writers and directors sought to convey.

It was a remarkable effort that helped create one of the great movies of our time.

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Wearing Our Beliefs

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