‘The Tattooist of Auschwitz’ Review: Melanie Lynskey and Harvey Keitel in Peacock’s Harrowing Holocaust Drama

has a distinctive way of way of marking death. Each time someone passes, the drama pauses on a moving portrait of their face in life, against the grim toll of a bell. Sometimes, it’s how we learn a character we’ve been following for several episodes has been killed. At others, it’s the only good look we get at people whose names we never even learn before they’re slaughtered.

Her comment lands as a reproach to viewers who might be in their own feelings about Lali’s harrowing account, though by that point — four episodes in, out of six — it’s likely plenty will have tuned out already, unable to stomach its graphic horrors. By the bleak standards of the camp, Lali is luckier than most. His job etching numbers into the arms of fellow prisoners grants him some minor perks and a modicum of freedom.

And that’s just in the first hour . Subsequent chapters bring beatings and rapes, shootings and hangings, suicides and cruelly thwarted attempts at same, set to Hans Zimmer and Kara Talve’s somber score.‘s saving grace is that they also bring moments of compassion and bravery and connection. The inmates offer each other comfort or levity, trade scraps of food and stolen trinkets, risk their lives to save one another.

In the hands of their perpetrators, however, even something as pure as love can become a liability. Stefan wields the relationship as both carrot and stick, arranging trysts with Gita in exchange for favors from Lali or menacing her to keep him in line. In time, the dynamic between the men evolves into a strange codependency, in which lonely Stefan comes to rely on Lali as something between a confidant and a pet.

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