A British man discovers that his childhood friend, a Polish-Jewish refugee and violin prodigy who disappeared on the eve of his London debut concert in 1951, might still be alive.
“The Song of Names,” adapted by Jeffrey Caine from cultural commentator Norman Lebrecht’s award-winning 2002 novel, may be a fictional mystery-drama, but its story feels as real as many of the true-life, Holocaust-centric tales that have made their way to the screen, stage or page. It’s a profound, affecting and beautifully told chronicle of faith, family, obsession and the language of music.
In the late 1930s, just before the start of World War II, London music publisher Gilbert Simmonds agrees to take in Dovidl Rapoport , a 9-year-old Jewish violin wonder from Warsaw, whose father, Zygmunt, wants to keep his gifted son safe and far away from the looming Nazi invasion of Poland. Zygmunt returns home to protect his wife and daughters, while the conceited but playful Dovidl settles in with Gilbert, wife Enid and their fussy son, Martin , also 9.
Flash forward to 1986 and the adult Martin , now a music examiner married to his childhood sweetheart, the cynical Helen , suddenly has reason to believe that Dovidl may have moved back to Poland in 1951. The tipoff: a signature gesture of Dovidl’s involving a violin bow and a lump of rosin that Martin witnesses in another young musical prodigy.
It’s a painful, heartbreaking reunion that plays out throughout the film’s superb third act in a series of illuminating and surprising yet inescapable ways. Bring a handkerchief.
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