ARTS&LIFE FILM REVIEW
I’ll Find You
In war-torn Europe, one man stops at nothing to save the love of his life.
PHOTOS BY JAROSLAW SOSISNSKI
ASHLEY ZLATOPOLSKY CONTRIBUTING WRITER
Connie Nielsen as Lena Moser-Drabowska in I’ll Find You.
I
n the World War II romance and musical I’ll Find You, love conquers all. Set for theatrical release on Feb. 25, the 1-hour and 56-minute film — inspired by the true stories of musicians in 1930s and 1940s Poland — offers a heartwarming twist on the classic Romeo and Juliet story, this time set in the midst of war-torn Europe. Since childhood, Catholic opera singer Robert Pulaski (Leo Suter) and Jewish violinist Rachel Rubin (Adelaide Clemens) have been inseparable. The film, directed by Martha Coolidge and filmed in Krakow
Stellan Scarsgard
and Lodz, opens just before the 1939 Nazi invasion of Poland. We begin the film by learning about the ever-evolving story of Pulaski and Rubin. Pulaski, absent for two years following an awkward kiss with Rubin where he professes his love to her, finally returns home. Yet he finds Rubin moved on with her life, engaged to a Jewish man, David Rosenfeld, until Pulaski’s unexpected visit changes plans — and Rubin’s feelings. Jumping back in time, I’ll Find You travels to the childhood years of Pulaski and Rubin, when they first meet watching a street performer put on a show with a bear. Rubin, fiery and opinionated, tells Pulaski how awful it is that a bear should perform like that, while Pulaski argues that the bear could have a much worse fate — he could have been hunted instead. Pulaski then heads to music school, where he is a new student. Unsurprisingly, Rubin walks through the door, enrolled in the same class as Pulaski. Immediately, the two are at odds. Rubin, who excels at violin, overshadows Pulaski, who at the time hasn’t truly found his calling in music. Pulaski complains to his father that he wants to quit music but continues anyway.
At the school, the music students practice in a secret room, hidden behind a bookcase and unlockable with a key nestled inside a book on Chopin. Later, this room would come to serve a much more important purpose; but for now, it’s where Pulaski finally begins to drop his defense. Performing at a Christmas event, Pulaski finally draws up the courage to apologize to Rubin, who accepts the gesture. At the same event, Pulaski sings and stuns the room with his incredible opera voice, a voice that he didn’t realize he had. Pulaski’s true musical talent is finally revealed, putting him in the same ranks as Rubin as he embraces opera singing. Growing up, the two dream of performing together at the legendary Carnegie Hall in New York City. Yet as the film fast-forwards to the present, when they’re once again adults, their dreams are put on hold as news of an imminent German invasion takes hold of Poland. ESCAPING POLAND Realizing time is limited and growing closer to Rubin following his return, Pulaski tells her she shouldn’t marry Rosenfeld, that he’s not right for her. As both families plan their
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FEBRUARY 24 • 2022
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