The great thing about film is it is a VISUAL medium. A voice over isn't necessary if the the visuals on the screen portray the message the filmmaker intends to send.

All of the esoteric dialogue concerning meanings is pure semantics, gentlemen. This is the story of a survivor of not just some event we label the "holocaust", because Jewish people were not the only ones who suffered pursecution. Many many others joined the Jews in deathcamps all over the region. I would say that Jews were the main focus of the Nazi Party, but the SS and Gestapo were relentless in rounding up any opposition to the party, including dissidents, homosexuals, the Russians (who suffered five times the losses compared to the "holocaust") and ethic minorities considered inferior.

This story of Spillman is significant because it tells us that despite the odds, some of us can survive something as horrific as Nazi pursecution. This is a tribute more to the human wit than anything else, as in guile.

The filmmaker, Roman Polanski, is a visual artist whose stories are rather straight forward. There are no surprises here. Because of this man's incredible talent, there were those who chose to risk their own lives to save him. Like a priceless oil painting or vase, it was in everyone's interest to save his life. It was as if he was more like a commodity than a person at times. Yet his struggle was brilliantly told, without an oral voice over narrative because one wasn't necessary.

Polanski's style, as it was in Chinatown, is to further the narrative with short vignettes rather than visuals with a voice in the background telling us what to make of the images. To further agonize over what the character is going through is told through the actor's performance. We don't need to see what "he sees". It is redundant. This isn't philosophy 101. It is the world of cinema. The best films explain nothing. They allow every member of the audience to form his or her own opinion. They leave speculation to the critics and first year filmschool students.

The only film a voice over ever worked in was Double Indemnity, and even then, it's corny. Hearing Fred MacMurray telling us what to think and how to interpret the visuals almost seemed a copout on the part of Billy. But that's another discussion.

As for anti-semitism... I would say that prejudice and hatred of many people, including Jews, is alive and well in our own backyard, let alone some other region of the world.