The opening scene of Maria Stachurska’s The Midwife (2020) is a stark, unforgiving image: a woman’s hands, bloodied and trembling, cradling a newborn life amidst the squalor of Auschwitz-Birkenau. This is Stanislawa Leszczynska, a midwife whose story is as harrowing as it is inspiring. The film, a documentary, doesn’t flinch from the brutality of its setting, grounding its narrative in the grim reality of the Holocaust through the lens of childbirth—a paradoxical act of life amidst death.

Stachurska’s direction is measured, opting for a somber, almost reverential tone. She avoids sensationalism, allowing the horror to speak for itself. The sound design is particularly effective, with the muffled cries of newborns cutting through the distant echoes of suffering, creating a haunting contrast. The film’s strength lies in its unflinching portrayal of the horrors of the Holocaust, using Leszczynska’s story as a focal point to explore themes of resilience, faith, and the indomitable human spirit.

The performances by narrators Danuta Stenka and Hanna Polk are measured, lending gravitas to the narrative without overdrama. Their delivery is precise, avoiding the pitfalls of melodrama that could easily derail such a heavy subject. However, the film’s reliance on narration occasionally detracts from the emotional weight of the visuals. While necessary for historical accuracy, it sometimes feels more like an educational lecture than a cinematic experience.

One of the film’s most compelling aspects is its exploration of faith. Leszczynska’s unwavering belief in her mission, even in the face of death, is a central theme. The film posits that her strength came from this faith, a notion that is both powerful and deeply moving. However, this spiritual dimension might not resonate with all viewers, particularly those who prefer a more secular approach to historical narratives.

The film’s production values are solid but unremarkable. The cinematography is functional, serving the narrative without standing out. The sound design, as mentioned earlier, is one of the film’s strongest elements, effectively creating an atmosphere of tension and despair. However, the lack of visual innovation means that the film doesn’t leave a lasting impression in terms of its aesthetic.

The film’s pacing is a notable drawback. While the subject matter is undeniably compelling, the narrative often feels static, lacking the momentum that could make it more engaging. The absence of archival footage or reconstructions limits the immediacy of the story, making it feel somewhat detached. This is particularly evident in the latter half of the film, where the historical facts begin to overshadow the emotional core.

The film’s strengths lie in its unflinching portrayal of the Holocaust and its exploration of faith and human spirit. It succeeds in honoring Stanislawa Leszczynska’s extraordinary courage and resilience, but it struggles to transcend its educational purpose. The film’s reliance on narration can make it feel more like a lecture than a cinematic experience.

Comparisons can be drawn between The Midwife and other films that delve into the Holocaust, such as Son of Saul (2015) or The Pianist (2002). While these films often focus on survival and the struggle for dignity amidst inhuman conditions, The Midwife distinguishes itself by centering on the act of creation—childbirth—in the midst of destruction. This unique perspective offers a fresh lens through which to view the Holocaust, highlighting the resilience of life even in the darkest of times.

However, this focus on childbirth also raises questions about the film’s narrative structure. While the subject matter is undeniably compelling, the film’s pacing can feel uneven. The first half of the film is devoted to establishing Leszczynska’s backstory and the historical context of her arrest and imprisonment. This section is informative but can feel slow, particularly for viewers who are already familiar with the broader history of the Holocaust.

The second half of the film shifts its focus to Leszczynska’s experiences in Auschwitz-Birkenau, where she worked as a midwife under appalling conditions. This section is more engaging, as it delves into the specifics of her work and the challenges she faced. However, the film’s reliance on narration can make it feel more like a historical account than a cinematic experience.

In terms of audience appeal, The Midwife is likely to resonate with viewers who have an interest in historical documentaries, particularly those focused on the Holocaust. It offers a unique perspective on a well-trodden subject, making it a valuable addition to the genre. However, its slower pace and reliance on narration might deter casual viewers looking for a more dynamic cinematic experience.

Ultimately, The Midwife is a poignant but uneven documentary. It succeeds in honoring Stanislawa Leszczynska’s extraordinary courage and resilience, but it struggles to transcend its educational purpose.

Tags: Danuta Stenka, Hanna Polk, Maria Stachurska, The Midwife