Spielzeugland (Toyland): Review

Hitler’s reign maybe one of the most reproachable and terrible eras in world politics, but it is beyond doubt one of the most filmable subjects around. Especially his cruel repression of Jews. Spielzeugland is one of the best in that genre, as haunting in its story as it is moving in its treatment.

This is just pure poetry set in music, a 13 minute treat of blooming love and innocence under Hitler’s dark cloud of inhumanity. Heinrich Meisner, a 6 year old boy, is led to believe that his Jewish friend’s family is going to travel to Toyland. You may think that you know what is next, but here’s the surprise – you don’t.

In Heinrich’s touching naivety, the background becomes much more important than the story itself. Snowy white streets, white smoke billowing out of gleaming black engines, children playing on sunny mornings – it is easy to see how Heinrich believed in a Toyland. His Germany seems just his ideal playground, if not, alas, for the atrocities going on in the world that he is blissfully unaware of.

Music dictates the whole of Spielzeugland – a haunting piano melody that single handedly tells the story even with the minimum of dialogues, a dreamy poignant duet which brings tears to your eyes. It forces you into that thoughtful, slow, almost wistful pace of Heinrich’s life.

Yes, this deserved an Oscar alright. Scarily moving. It leaves you with an effect that most other notable movies like the Pianist, or Schindler’s List takes hours to create.

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