Misha and the Wolves

The story sounds unlikely from the start of a pre-teen making her way across war torn during World War II Belgium to find her parents in Germany on the way evading capture by German troops, witness’s atrocities and even becomes part a wolf pack.

However the fact that this is during World War II and the story of a Jewish girl forced into a Belgian family when her parents are deported to Germany means that it carries some weight. That is the very basic summary of Misha Defconseca who as an adult moved to a small community in the US, and told this story to her local synagogue.

The story went beyond the community and synagogue coming to the attention of a small publisher who could see potential in it. The prospects of a slot on Oprah – which could guarantee a million plus extra sales – and Disney looking to option the story drove it forward.

Things however started to turn ugly when Misha pulled out of Oprah and started legal action against her publisher for non payment of royalties. At the trial things went Misha’s way and she won something in the range of $22m which could sink the publisher.

At which point the story could come to an end as who would consider questioning the story of a Jewish war survivor after such resounding decision. But with life-changing losses in the pipeline the publisher decided to do some investigating, in particular as the book was hit in Europe and a film had been made too. Academics invited Misha to particate in projects led by their students. She was also now a celebrity with TV channels and presenters falling over themselves for interviews; Misha was truly a phenomenon.

Something wasn’t sitting quite right so the publisher using contacts in Belgium like Evelyne Haendel, a holocaust survivor, and their hard work going through church and council records, a different story starts to emerge. From here the viewer (and reader) will start to guess the direction of the film however there are further revelations as well as the moral and ethical issues to consider.

It’s a remarkable if dispiriting story that makes you wonder how people can sink to such depths even taking into account possible mental illness. The film does try to unravel this with quotes from Misha’s family who recall her though with little sympathy.

That is more forthcoming, though qualified, from Evelyne who tries to reconcile something of Misha’s story with the desperate circumstances under which the decisions were taken. But understanding can’t obscure or forgive her actions.

Writer and director Sam Hobkinson is quite clear where his sympathies lie as the film progresses, with the set on which Misha is interviewed then leaves is dismantled in parallel with her story. It is a tragic story no doubt and there is smidgen of feeling for Misha but the depth of cunning involved and the hurt and damage it has caused dries it up very quickly.