Forbidden love in Nazi-Occupied Greece is the central topic of Cloudy Sunday, a gracefully illustrated, thought-provoking drama from Greek director Manousos Manousakis. The film, set in 1943 Thessaloniki, concerns the treacherous relationship between Estrea (Christina Hilla Fameli), a Jew, and Giorgos (Haris Frangoulis), a Christian. The film is complemented by music inspired by Vassilis Tsitsanis, who also features in the film as part of its subplot. Vassilis (Andreas Konstantinou and his live music band and venue, much like the tragic lovers, never find themselves too far away from danger.

Cloudy Sunday, based on the book by Ouzeri Tsitsanis, illustrates a rare account of the Second World War in which the tragedies and horrors of Nazi occupation are demonstrated to sorrowful effect on the people of small-town, 1940s Greece. Musician Tsitsanis, who wrote the title song Cloudy Sunday, was propelled to pen his composition after coming across some blood in the snow – a trail which led to the body of a killed man. This scene is depicted in the film, a poignant reminder that fiction never strays too far away from fact.

This carefully portrayed scene does well to substantiate the use of two narrative strands, that of the love story and that of the musician and his band, which otherwise are quite separate. Although Giorgos works in Tsitsanis’ tavern, there is not that much to weave the two plot threads together as we follow detached storylines. Each storyline, however, has its own points of interest, and enough to continue the compelling tone of the film.

For the love story, it is the strength of the main actors’ performances that give a distinct and impressive edge to the familiar forbidden love story. Fameli, a newcomer to the screen, is particularly captivating as Estrea, delivering a strong, gripping performance. Frangoulis gives a courageous, daring performance as Giorgos, whose character has the added edge of being a member of the resistance. Where other scenes, painfully showing the distress of Nazi occupation, occasionally come across melodramatic, the perilous lovers do well to convincingly portray the fearful and emotional burden of their relationship and their surroundings.

For the story of Tsitsanis, his band and his tavern, there comes the stunning use of Revetika music (Greek, often bluesy, folk music). The music is a fine secondary character, with twenty-seven original songs and adaptations of Tsitsanis’ music, all composed superbly by Themis Karamouratidis. The music is at once a delight and mournful, demonstrating the emotions and tragedy of the film without being overbearing. The secondary plot of the band’s lead singer Lela, played by Vassiliki Troufakou, is effectively rendered by another emotive performance, in which Lela’s love for Tsitsanis pushes her towards another, more treacherous man. This is not fully realised as a subplot, however Troufakou’s vocals and polished performance as Lela are enough to appeal audiences.

Visually, Cloudy Sunday has a stunning aesthetic, which convincingly illustrates the 1940s setting. Much like the soundtrack, the production design is a strong character of the film, with well-executed costumes and scenery. It is a testament to the hard work of the filmmakers, who took three months to shoot the film, that the overall look is so well accomplished, with over two thousand extras and six thousand costumes.

The final act of the film, in which the first trains taking Jews to concentration camps depart, brings the most harrowing reminder of the terrible, inhumane acts of Nazi Germany. Though occasionally theatrical, the film never recoils from showing the brutalities of the times, showing the audience that we must never forget the horrors of the past. Cloudy Sunday’s greatest strength, in truth, lies in its messaging on human courage, and the ability to overcome fear and prejudice – something as important today as it was in the 1940s.

Cloudy Sunday is screening at the Arts Picturehouse on Wednesday 26th October at 4pm.

httpvh://www.youtube.com/watch?v=D7-8nXRAxoI