It’s interesting that “Shepherd: The Story of a Jewish Dog” is playing in select theaters nationwide at the same time that Emma Stone’s flamboyant “Cruella” is also premiering. The latter is an origin story of a villain that would go on to capture 90+ Dalmatians for their fur, while the former is the story of a German Shepherd that would inspire hope amidst the worst conditions of humanity during German in World War II. The film, a slow-burn, is directed and co-written by Lynn Roth off the novel, “The Jewish Dog,” by Asher Kravitz. While not without issues, the picture features capable acting, particularly from its young star August Maturo, and is rife with symbolism for this abject period of world history.
The story follows a young German Shepherd puppy named ‘Kaleb’ by the family of a Jewish couple and their children. The film takes place in Germany during the institution of the Nuremberg Laws, which showcases local shops posting signs saying ‘No Jews Allowed’ alongside their standard ones forbidding animals entry. Kaleb grows up after being adopted by a kind man when laws decree Jews may not own pets. He runs away to return to his family, most notably young Joshua (Maturo) who loves him deeply; however the family is gone, and we are left to assume their fate.
It was at this point of the film that I feared “Shepherd” was destined to become another “Hachi” redux. Hollywood loves its hero animal stories; but what this film becomes is something else. It’s not so much a story about a dog’s love, but about the unconditional nature of that love. It is also an effective counterpoint to powerful WWII dramas such as “Schindler’s List,” “The Pianist,” and “Life is Beautiful.” Like these, it shows a different perspective on the Nazi atrocity that adds hope amidst its inhumanity.
The high points of the film are its acting (which is good all around) and its parallels and insight. The best parts of “Shepherd” are the bond that Maturo (best known for his role in TV’s “Girl Meets World”) shares with the dog, and the sense of hope it gives him. I also think that a large part of the movie—and of Roth’s vision—is the malleable nature of animals, with a hopeful nod to the human ability to adopt this.
Ayelet Zurer, August Maturo, and Viktória Stefanovszky in “Shepherd: The Story of a Jewish Dog.”
Some hard scenes on the streets show us Kaleb fighting to survive, until being adopted again—this time by Ralph (Ken Duken), a Nazi SS officer who trains him to hunt down hiding Jewish fugitives. A brilliant thing happens here: Kaleb, loved by Ralph even though he is doing monstrous things, equally loves him back. When he reunites with Joshua in a concentration camp toward the movie’s climax, Roth showcases the dog’s memory. Scenes of happiness with both Joshua and Ralph are shown in tandem. It’s no hidden secret the healing message Roth is pulling from Kavitz’ subject matter.
Likewise, the acting ability Maturo brings to the screen here is mesmerizing (and saves the film in large part). He’s lost the rest of his family—they disappear off-screen, likely to other concentration camps and similar fates. He acts the way a boy of about 10 would act in such a situation. When another Jewish survivor remarks about him, “he’s no longer a boy, not with what he’s seen,” we understand it. And while Joshua’s role does require him to act adult-like, Maturo lets his youth shine, as it rightly should. Many reviews criticize the acting in the film; and while the film’s production is somewhat lacking, I find this criticism unwarranted. But this is especially true of Maturo. His scenes resonate wholly; and one scene where he comforts a sad Kaleb during the film’s latter half is uniquely touching and timeless.
Kaleb after being trained as a search dog by the Nazis. Photo: courtesy of JDOG Films.
But on the whole, “Shepherd” suffers from some issues, mostly in the script and production aspects. While immense work goes into portraying and protecting Kaleb (5 different dogs play him), less is given to the human characters. The film suffers from a lack of character development to really let us know Joshua and his family. Additionally, I found the German SS officer to be out of place. Duken plays him well and empathetically. But therein lies the problem; his character is actually really vile, and the film sets him up as if he might turn good, but then lets us down immensely. This, alongside the film’s tendency to use the dog’s point-of-view in lieu of exposition, brings the film down slightly.
At the end of the day, however, “Shepherd: The Story of a Jewish Dog” is a fair effort. It has its touching moments, a rewarding ending, and shows the horrors of the Holocaust aptly. It also includes needed parallels between its star dog and the film’s humans. Kaleb loves the best and worst in us. Whether an accidental finding, the film shows the needed movement toward unlearning hatred and intolerance and the utter harm that comes from continuing to embrace it.
*Note: while this film is labeled as “Family” on IMDb, this reviewer does not feel it is suitable for younger viewers given its grave subject matter.
