The opening half of the film is split between the investigation happening now and a flashback to the life of a young girl, Sarah (Mélusine Mayance), involved in the roundup. When the family is taken from their home, Sarah locks her younger brother in a secret cupboard to keep him safe and promises to come back for him. This section is the strongest part of the film and it takes a dip when the flashback reaches the end of the war. There is far too much of the story of Julia's pregnancy, her relationship with her husband and seemingly endless scenes of tracking people down and questioning them. With such serious subject matter, I found myself feeling quite guilty for being bored.
Even though there isn't a stunning revelation at the end, Sarah's Key still manages to finish on a satisfying note. I initially thought it was going to be overly sentimental but Aidan Quinn's reaction in a pivotal scene just managed to pull it round for me. I do think that having watched Stephen Poliakoff's work, I have been spoilt. The way that he tells World War Two stories in his dramas is subtle, gripping and unexpected. Sadly, Sarah's Key didn't work quite as well. Definite potential though, that could have been improved by some judicial editing in the latter half.
5/10
evlkeith
If you like this you could try:
Shooting the Past, Glorious 39, Perfect Strangers, Joe's Palace, I've Loved You So Long.
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