I like the storyline of this show,it attract me so much

Blistering performances.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

If you like tearjerkers, this film is for you. Long before Meryl Streep had to make Sophie's choice, The Search centered on the tremendous love of a mother for her child--a love that can be a great blessing, but also a cause for tragic despair.The Search was filmed not long after the end of WWII. It is the story of a young boy who escapes the horrors of Auschwitz and finds himself alone in post-war Europe, as a continent tries to reorganize and assess its damages. The boy is taken in by an American GI (Montgomery Clift in his first role) and they struggle to overcome the barriers of language and the boy's emotional scars.Meanwhile, the boy's mother endlessly searches for him, frustrated by the sheer size of her task, because there are so many displaced or orphaned children.If this film does not bring a tear to your eye, nothing will. It's an excellent story well told.

This is a genuine overlooked gem, portraying the desolation of post-World War II Europe, and the hopelessness of hundreds of thousands of displaced child refugees with lost or dead parents, no place to go and nothing to eat. Some aspects of the plot and dialog are dated, but the story and the craftsmanship make the movie timeless. This was Montgomery Clift's second movie and he did an excellent job, both starring in it (for which he received an Academy Award nomination), and apparently in rewriting the original script substantially (the movie also was nominated for best screenplay, and won for best story, both in the names of the credited screenwriters). The entire cast, American and European, did an excellent job, and the use of bombed and destroyed German cities as backgrounds gave The Search a sense of reality and urgency that can be almost jarring and startling. Despite the bleak sounding summary of the plot, the movie is inspiring, witty and entertaining, and no downer.

As much like a documentary as like a movie. But, a movie it is, with a minimum amount of manipulation. The reality of a ruined, bombed out Germany is the essential b&w backdrop to this movie, just as Monument Valley is to The Searchers. I have only seen one other movie that dealt with this theme, but this one was much more memorable; laughter, tears, and, forgive them, a happy ending. The performance by the young boy "Jim" was quite mesmerizing; his tragic life afterwards is heartbreaking. Montgomery Clift is as mesmerizing as young Jim. Hard to believe this is his first movie. All in all, a very realistic movie that takes you back to 1948. Would watch it again.

In the years following World War 2, stories about reconstruction and readjustment were popular with filmmakers, although they were somewhat hit-and-miss with the public, who at the time would accept nothing less than full understanding and sincerity on so sensitive a subject. Even viewed today, they are a bit of a mixed bag, and many seem to have been made with the best intentions but with naiveté in their presentation. The Search is one of these.The bare plot of the Search is kind of poignant-postwar-story-by-numbers. That's not such a bad thing in itself - often the simplest ideas are the best. Even its basic structure is a good balance, beginning with an objective exposition of the plight of children in war-ravaged Europe, allowing the Ivan Jandl character to emerge from the group, then parallelling his mother's desperate search with his own psychological recovery. I don't think the Oscar for Best Original Story was deserved but I can certainly understand it.The trouble is in the screenplay as it is written. Much of the scripted dialogue is bland and trite, and the way characters react in certain situations seems false - for example, the British UNRRA officer prompting Mrs Malik to keep questioning the Jewish boy even after she has suffered the shock of his not being her son. The very worst thing is the twee voice-over narration, which elaborates every point, regardless of whether it is already obvious or even necessary to know, in the most patronising tone imaginable. Perhaps the intention was to make these early scenes less confusing and threatening to child viewers - but other than its protagonist being a child, there is nothing to suggest that this picture is especially aimed at kids. And really, without the narration we would have been left with a more genuinely childlike view of the story. This is especially true of the flashback scene of Karel Malik's family - a young child would remember this time not so much in the adult context of where the city was or what his father did for a living, but more as a series of images. Imagine how much more powerful this scene could have been if we were to experience it the same way.Almost predictably, the director is Fred Zinnemann. This man would later do some great things, but his job on the Search is rather amateurish. I think his biggest problem here is failing to show things from the point of view of the child. In those early scenes we only see the rescued youngsters from the perspective of the UNRRA officers. We see that these kids are confused and daunted by their new guardians, but I feel truly great directing would have allowed us to share this feeling. Even in those cramped and crowded trucks the camera remains aloof above the children, rather than among them. And this from a director who tended to overuse point-of-view shots in his early pictures. The only thing I like about Zinnemann's direction here is the stark realism he gives to the ruined city, and the way he keeps this sense of a desolate environment at the forefront.I am glad to say it is the cast who make the best effort at rescuing this picture. Montgomery Clift gives a wide-ranging and naturalistic performance, but probably his best contribution is that he apparently improvised much of his own dialogue, making his scenes stand out above the turgid mess of the rest of the picture. Young Ivan Jandl gives an excellent performance for a child player. You can see that there is a lot of himself in the role, but that he is also clever enough to think about what he is doing and really put effort into acting. However the real treat here for aficionados of classic Hollywood is Aline MacMahon, who was busiest as a comic supporting player at Warners in the early 1930s. In the Search she is supremely dignified, even without makeup.The way things are in the Search is the way things often were for smaller productions in the postwar era. The studio system was weakened and the majors often found themselves collaborating with independent producers. Hollywood was not the well-oiled machine it had been in the 1930s, and we got teams where not everyone was on the same wavelength. The Search is one of the unfortunate collisions of this period, between arty-farty pretensions and Hollywood gloss.