6.5 | / 10 |
| Users | 0.0 | |
| Reviewer | 3.0 | |
| Overall | 3.0 |
Traces a family's journey as one of only twelve Jewish families to survive the Nazi occupation of Prague during World War II.
Narrator: Tim Pigott-Smith| Documentary | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 5.1
English: Dolby Digital 5.1
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
| Movie | 3.0 | |
| Video | 4.5 | |
| Audio | 4.0 | |
| Extras | 0.5 | |
| Overall | 3.0 |
Is it churlish to suggest that a Holocaust related documentary could be a vanity project? As discomfiting as that may sound, especially to those of us who lost relatives in the Holocaust, that’s kind of the feeling I was left with after having watched Red Trees, a fitfully engaging piece by Marina Willer which seeks to explore her father’s history, one that is wrapped up with the German occupation of Prague. The Willers were one of only twelve Jewish families to make it through that occupation (more or less) intact, but one of the kind of unusual things about Red Trees is that it doesn’t really exploit the “genre trappings” (if indeed they can even be called that) of typical Holocaust themed documentaries, staying away from archival footage of gaunt and emaciated "walking dead" victims staring out through concentration camp barbed wire, and instead focusing on the kind of bizarre journeys the Willers took that ultimately ended up with them in Brazil. Red Trees is almost curiously scenic, with one of the cinematographers capturing almost impressionistic imagery being the Academy Award nominated César Charlone (City of God). The imagery Willer employs in this piece is almost deliberately disjunctive at times, something that creates an almost subliminal unease as the memories of Willer’s father play out in voiceover as scenes of shimmering pools of water or sylvan forest glades drift into view. It’s a patently bizarre artifice, one perhaps made even weirder by the fact that Willer actually introduces her father up front, who begins reading from his memoirs, only to quickly replace him with Tim Pigott-Smith as a narrator enacting those same memoirs.


Red Trees is presented on Blu-ray courtesy of Cohen Media Group with an AVC encoded 1080p transfer (mostly) in 1.85:1 (some archival home movies are closer to Academy Ratio). For all of its supposedly tragic subject matter, this is often a rather ravishingly beautiful film, one filled with gorgeously lit and shot scenes that cover a wide array of interior and exterior locations. There are quite a few moments that follow Marina walking around either outside or in some of the abandoned industrial locales, and both depth of field (in the exterior shots) and general detail levels are uniformly quite impressive, even in less than optimal lighting conditions. There are "arty" shots of what I assume are her father's aged hands, or his face, and here in close-ups fine detail is also quite expressive. The palette is a bit on the cool side quite a bit of the time, but generally looks natural. There are no issues with image instability or compression anomalies.

Red Trees features a DTS-HD Master Audio 5.1 mix which frankly may be a bit of overkill, since so much of this documentary's sound design is comprised of voiceover and/or narration. There is still intermittent use of surround channels as Marina gets out and about, though, with discrete channelization of isolated effects often creating a nicely lifelike ambience, as when Marina is in an abandoned factory and the slight drip of water off an old piece of machinery can be heard. Fidelity is fine throughout, offering problem free support of the frequent narration.


There are all sorts of interesting little factoids tossed around in Red Trees, as in the revelation that the title of the documentary refers to Willer coloring trees that hue as a child, something that led to the discovery that he was color blind, but — what does that have to do with surviving the German occupation of Czechoslovakia? Marina Willer's piece is perhaps not securely focused enough to ever really resonate, at least emotionally, but visually it's quite striking almost all of the time, and some who don't want to relive the horrors of Shoah may find this intermittently gripping, if never ever really all that compelling. Technical merits are strong for those considering a purchase.