A. Whats made the film interesting? What I love about The Book Thief is its ability to humanise an episode in human history - Nazi Germany - where from the outside it is hard to understand how ordinary people can have lived under that regime and accepted what it did. Because we need to empathise with the characters, we need to see how Liesel and the Hubermans grow and come to challenge the regime in their own ways, and how they do that through Liesel’s learning and their own empathy for Max and for each other. That in itself makes a powerful point in a subtle way: mass fear and hatred of other human being relies on making them “other” than us, a fiction that breaks down when you know them as individuals. We defuse hatred by connecting with other people B. Which part of the film did you like the best? Why? The Story and the Scope: Set in the reign of Hitler,  in a town of Germany, the story is about a girl, Leisel, her family and  friend. The story is about the harsh realities, about the parental  love, about the friendship, about the selflessness and selfishness,  about the rich and the poor, about the war and yes it is about the death  too.  Full marks to the author for brilliantly depicting the  relationships, especially for the adorable depiction of Leisel’s cordial  relationship with her father, I almost felt like it is the depiction of  the my relationship with my daughter.  The condition of the Jews and  the treatment met to them under the Hitler’s regime is also profoundly  presented. The Presentation and Organization: Wow!!  Delightful!! Unique!! The presentation is simply superlative. With death  as the narrator, the tone of the story changes multiple shades – with  death being incisive at times, humorous at some places and sarcastic at  some other times. Very peculiar to this book, the author presents the  by-product thoughts (if that is the term I can use for all the secondary  thoughts which flow in mind while focus is on primary thoughts) in the  form of intervention notes, right in the middle of the page and these  notes actually add lot of value to the story.  The book is organized  into 10 chapters with several  small sub chapters under each.  Such kind  of organization tempts reader in to reading those extra few chapters  which usually would be postponed to the next seating. The Flow of plot: On this front too, Zusak is  brilliant. No amount of organized approach would help if the plot does  not evolve smoothly.  At know point in time, author has lost the grip on  the plot.  The flashbacks and the flash-forwards (Oh, this is another  unique attribute, the author has flash-forwarded the story on few  occasions and reveled the secrets when least expected, and then he  merrily returns the story to its present) never looks out of story and  are well timed. C. Do you think the actors portrayed the characters well? Why or Why not? It's about Liesel (Sophie Nelisse), the orphaned 12-year-old daughter of German communist activists, taken in by a middle-aged couple in 1938. She and the smitten boy next door Rudy (Nico Liersch) join the Hitler Youth and goose-step around town burning books and fetishising der Führer as little twinges of conscience and doubt slowly begin to manifest themselves. Then her adoptive parents Hans and Rosa. Frankly, not a lot of suspense ensues. The movie tiptoes far too politely around the stark historical facts of the era in which it unfolds, and its Nazis are little more than generic school bullies and officious creeps in uniforms. Meanwhile, weirdly enough, the film's narrator is Death himself, appearing in voiceover by Tom Wilkinson to carry off Leisel's brother in the first minute and reappearing to tot up a hefty final body count. Then there's the problem of English-speaking actors doing German accents, the bane of movies about the world wars since time immemorial. Rush and Watson, excellent actors both, give it their best Ganz and Schygulla, but as usual it's like strapping the actors into the auditory equivalent of a fat-suit, with a 70% loss of conviction guaranteed from the outset.