Anne Frank (2001)





Critic Consensus: No consensus yet.

Movie Info

Anne Frank was an ordinary girl forced by circumstances to bear witness to the most extraordinary tragedy of the 20th century, and the diary she left behind became one of the best known and most affecting documents of those who struggled to survive the Holocaust under Nazi occupation during World War II. Anne Frank is a four-hour television miniseries that retells the well-known story of the Frank family as they hid from Nazi occupation forces in an attic in Amsterdam between 1942 and 1944, but it also takes a look at the life Anne and her family led before the pogrom swept through Germany and Holland, as well as the harrowing details of the grim fate that awaited the Franks in the Bergen-Belsen concentration camp. Hannah Taylor Gordon stars as Anne Frank, with Ben Kingsley as her father Otto, Jessica Manley as her sister Margot, Brenda Blethyn as Auguste Van Pels, and Lily Taylor as Miep Gies; the real-life Miep Gies, one of the Frank family's benefactors, served as a consultant to the producers of this project. Anne Frank (also advertised as Anne Frank: The Whole Story) was first aired by the ABC television network on May 20 and May 21, 2001.
Drama , Television
Directed By:
Written By:
In Theaters:


Ben Kingsley
as Otto Frank
Tatjana Blacher
as Edith Frank
Brenda Blethyn
as Auguste Van Pels
Lili Taylor
as Miep Gies
Joachim Król
as Herman Van Pels
Jessica Manley
as Margot Frank
Jan Niklas
as Fritz Pfeffer
Nick Audsley
as Peter Van Pels
Jan Nicklas
as Fritz Pfeffer
Peter Bolhuis
as Victor Kugler
Victoria Anne Brown
as Jacque Van Maarsen
Jeff Caster
as Lammert Hartog
Rob Das
as Jan Gies
Cees Geel
as William Van Maaren
Michael Horakova
as Sanne Ledermann
Dominique Horwitz
as Hans Goslar
Nicky Kantor
as Hello Silberberg
Branka Katic
as Charlotte Kaletta
Ela Lehotská
as Bep Voskuijl
Johannes Silberschneider
as Johannes Kleiman
Holger Daemgen
as Sergeant Silberbauer
Carly Wus
as Ruth Goslar
Jade Williams
as Hannah Goslar
Karel Dobry
as Commandant
Klára Issová
as Janny Brandes
Veronika Nowag-Jones
as Lena Hartog
Zdenka Volencova
as Lientje Brandes
Jaroslava Siktancova
as Camp Teacher
Nancy Bishop
as Red Cross Representative
Phil Jones
as SD Man
Jan Klima
as SD Man
Jelena Juklova
as Food-Stealing Woman
Joel Kirby
as Policeman
Howie Lotker
as Male Kapo
Kristina Madericova
as Female Kapo
Petra Lustigova
as Female Barracks leader
Jakob Schwartz
as Male Barracks Leader
Ivo Niederle
as Birkanau Doctor
Rudolf Pellar
as Registrar
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News & Interviews for Anne Frank

Critic Reviews for Anne Frank

All Critics (1)

Lili Taylor overacts so horribly she all but ruins the movie.

September 1, 2001

Audience Reviews for Anne Frank


Anne Frank. Had she not been subjected to extraordinary circumstances, this young girl might have ended up as your "girl next door". However, fate has its course. She aspired to become a popular person. And so she did, but not while she was alive. To be honest (as ever), I didn't quite like the whole story. The story of a young girl growing up didn't appeal to me, and most of us already know what Holocaust victims usually went through. The part showing how inconvenient the life of a group was during the hiding was a bit interesting, but not enough to make this TV movie a memorable experience. Ben Kingsley's performance is the most impressive among the bunch of actors. Taking all the aspects into consideration, I find it only fair to rate it 1.5/5.

familiar stranger
familiar stranger

Super Reviewer

Wow, poor Ben Kingsley has been on this downward spiral in his career longer than I thought, because even as far back at 2001, he was having to do a show on ABC. Granted, this miniseries was really good and actually won Kingsley a SAG Award, but just the fact that it's ABC is unsettling, because no matter how good this miniseries is, its presence on ABC should have been a sign that Kingsley was on his way out of quality material. Hey, I suppose it's better than nothing, and nothing is better than the stuff most of the other cast members have been doing, because when you're doing nothing, at least you're saved the embarassment of having something that no one is going. Oh wait, if we're deciding what's worse than nothing based on level of embarassment, then yeah, Kingsley blew the scale around the time he did "The Love Guru". Well, at least he has the decency to come back and do something good every once in a blue moon and remind us of how good of an actor, and if there's any relatively recent piece on his filmography that secures that fact, then it's this miniseries... that came out a tad before his career went south and isn't even really about his character. Wow, I can't help but imagine what this series would be like if it really was about Ben Kingsley, and I don't mean as Otto Frank, but as Anne Frank, complete with clipped curly brown hair (Or rather, a wig), a dress and a higher voice. If that were the case, then this series really would be a sign of Kingsley's career going south, yet as it stands, it's one of ABC's better moves, though one that doesn't trip a bit, seeing as how ABC can only go so far before slipping up. Even at just over three hours, a reasonably fitting runtime for this subject matter and relatively shorter runtime for a miniseries, the series remains plagued by excess material, particularly filler that especially slows down the momentum and drives unevenness amidst this should-be frequently moving story. Excess material grows less and less severe as the story progresses, yet remains all too common throughout, bloating a story of such tonal dynamicity to the point of making many of the tonal shifts jarring, and it doesn't help that there are still some spots of scenario set-up and exposition that are either glossed over or crowbarred in ever so awkwardly. These are common issues among miniseries of this type, yet with a story with this much depth, dynamicity and momentum, it can't afford to have such storytelling flaws as excessive bloating and akward, if not hurried exposition, much less the central flaw that it all leads back to. What is one of the biggest betrayals to the series' story, as well as the ultimate fault within the series is simply the fact that it pulls that old TV network (Especially ABC) bad move of being much too unsubtle, exploiting the aforementioned excessive filler and forced exposition, as well as some overbearingness in tone and a fair deal of almost inhumanly obvious pieces of dialogue or action, as manipulative forms of story and character fleshing, while not taking enough time to extensively explore depth or smooth out the edges, making for a series of limited dynamicity that just gel all that terribly well with the extreme dynamicity within the extremely human subject matter. This betrayal is hardly offensive, let alone as offensive as I make it sound, yet the series still leaves much to be desired, and were it more comfortable in its sprawling length, with more tightness of filler, more depth in exposition and, overall, more subtlty, depth and livliness, it would have quite possibly made for a sensational experience. As it stands, however, every flaw goes counteracted by truly remarkable strengths, some of which all but, if not decidedly redeem some of the flaws listed. The series is no huge masterpiece (Thanks a lot, ABC), yet it is a worthwhile saga, with high points that are sometimes actually contradictory to the faults, as well as consistent strengths that make it reasonably easy to power through the flaws. Through all of its limitations, the series is considerably well-produced, with lively production designs that very cleverly replicate the era, as well as sharp art direction that almost brilliantly plays with scope, presenting a degree of sweep that reflects the reach of consequence throughout the areas plagued by the dreaded grip of the Nazis, yet still boasts a degree of intimacy that gives us a feel for the isolation and humanity of our characters in an actually subtle fashion that may go outweighed by the general unsubtlty of the final product, yet still makes good use of the excessive fleshing out. Another aspect that makes good use of the overwhelming filler is the direction, for although poor Robert Dornhelm finds his hands tied by the excessiveness, to where he can't bypass its generally being a mess, he still manages to absorb from all of unsbutleties and filler a surprising and undeniably considerable degree of charm that certainly doesn't redeem the unsubtlties, yet certainly helps you in somewhat accepting them until Dornhelm finally breaks through and really delivers. Now, the series has its more subtle points, yet is almost entirely rather blatant, even at its core emotional moments, and there's nothing that Dornhelm can do about that, so thus, when he needs to most, he doesn't so much succumb to the unsubtlties as much as he embraces them and use them to his advantage, meditating upon the center of the tone and enhancing the focus with the unsubtle supplements, pushing and pushing until he breaks in a genuinely non-manipulative fashion and creates intense resonance, thus making the most consequential moments tense and the most emotional moments near crushing, especially during the heartbreakingly unflinching final segment. If Dornhelm could do so much with unsubtle material, then I itch to find out what he could have done with a more cleverly-crafted script, yet I'll take what I can get and what I'm getting is a product that's more often than rather distant, yet truly impacting when emotion does carry through, and for that, credit not only goes out to Dornhelm, but his performers. As components to the unsubtlty, certain characters are written to have only so many layers, and some are not even lucky enough for their limited layers to not feel a smidge exaggerated, yet most everyone has his or her time in sun, in which they manage to transcend the flaws in the character structuring for satisfyingly contradictory depth and even a few layers. Still, it's our young "lead" (She's third down on the cast list on IMDB; What?) Hannah Taylor-Gordon who is presented with the most layered material and delivers the most in execution, nailing the initial youthful optimism and noble spirit of Anne Frank with electric charisma that draws you in, especially when you consider that this optimism shan't last. Well, sure enough, tragedy and danger falls upon young Anne Frank and plunges her into a world she much mature to in order to survive, at which point, Taylor-Gordon unveils a transformation in Frank that's so genuine, so emotional and so intensely atmospheric that it doesn't simply steal the show, but draws unexpected depth through all of the unsubtlty from the person who should have the most depth, making for a transformative and compelling lead performance by that stands as one of the keys to the series' ultimately emerging much more satisfying than not. Bottom line, the excessive bloating - mostly through superfluous filler - and limited meditation upon smoothing out the story leave tonal shifts uneven and stand alongside writing spots and some overbearingness in tone as supplements to the series' central problem of being tremendously unsubtle, not absorbing enough depth for truly impacting resonance, yet what the series does get right, it nails with impressive results, whether it be clever production and art direction that creates a feel for the environment, or Robert Dornhelm's mostly inspired direction, which keeps the less resonant moments going with charm and strikes at opportunity of genuineness to create some undeniably strong emotional surges, and does so with the help of a myriad of strong performances, headed by an enthralling and layered Hanna Taylor-Gordon, who helps in ultimately making "Anne Frank: The Whole Story" a consistently charming, periodically resonant and ultimately rewarding extensive portrait on the timeless tale. 3/5 - Good

Cameron Johnson
Cameron Johnson

Super Reviewer

When the war began, she was only a little girl. When it ended she was the voice of a generation. I like every version of Anne Fank.

Wahida K
Wahida K

Super Reviewer

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