Stripped of his tuxedo, Aston Martin, and martini, the newest James Bond still maintains an heroic persona in his latest film, “Defiance.” While the movie’s Holocaust setting might arouse the expectation of another horrifying display of Nazi actions (as in “Schindler’s List), director Edward Zwick ’74 (“The Last Samurai,” “Blood Diamond”) surprises the audience by examining the Holocaust from an original angle. In a story of survival, Daniel Craig (“Casino Royale”), as Tuvia Bielski, becomes a symbol of hope as he leads a large community of Jewish refugees hiding in the forests of Belarus.

Based on a true story, “Defiance” narrates Tuvia’s journey as he and his followers attempt to rebuild a life that was stolen from them. Having fled into the forest after the death of their parents, the four Bielski brothers discover that they share their refuge with many other Jews from the surrounding towns. Tuvia refuses to leave a single man, woman, or child helpless in the forest, causing their community of survivors to grow. The Bielski brothers—soon called “The Bielski Otriad” by their companions—are burdened with the responsibility of sheltering, feeding, and protecting all of the people.

Zus and Tuvia struggle with a troubling paradox: Is killing inherently a part of surviving? Should they kill at all? To what end? Liev Schreiber’s performance as the revenge-obsessed Zus is a compelling portrayal of a man unable to let go of his desire to seek revenge on the Nazis, even when it is necessary for survival. When Zus’s thirst for bloody retribution clashes with Tuvia’s pragmatic restraint, the two brothers part ways—Zus to the Russian resistance and Tuvia to lead the forest community. Although Craig’s role in “Defiance” is a far cry from secret agent James Bond, his emotionally charged portrayal of Tuvia’s inner journey to become a cool-headed leader of the Jewish refugee camp is a well-executed and successful opposite for Zus.

While the audience might anticipate scene-after-scene of imprisonment and execution, Zwick’s film opts out of presenting the bleak misery within the camps, instead exploring the emotional challenge for those outside of the concentration camps. Zwick nestles the Bielski Otriad in a beautiful forest—a place that is far from the war, with the potential for recreating lives.

This uplifting environment creates a setting for possibility. It is a place where each and every person must work to regain what they once had; intellectuals, accountants, and upper-class snobs are remodeled as farmers, hunters, builders, and fighters. Surrendering to weakness—cold, starvation, or sickness—is simply not an option. The suffering and loss of the refugees are not necessarily poorly presented onscreen, but “Defiance” is ultimately the tale of the transformative effect of Tuvia Bielski’s hopeful ideals and undying strength. As such, the death and defeat of the Holocaust is overcome onscreen by Tuvia’s message of possibility and faith.

Composers Joshua Bell and James Newton Howard weave a brooding tone into each scene. Though a surprising amount of humor is sprinkled throughout the film, the weeping violins speak to the constant melancholy of the woods, winter, and persecution. Even moments of happiness and hope, such as the wedding scene between Asael and his wife Chaya (Mia Wasikowska), are interspersed with scenes of Zus’s bloody work as a soldier and accented by the pain-filled whine of string instruments.

To the Jews of the Bielski Otriad forest camp, living life is a sign of rebellion against the Nazis and a demonstration of their faith in the future. Despite the freezing winter and the loss of family members, Tuvia teaches the refugees, and the audience, that all hardships can produce great accomplishments, and through the Bielski brothers, Zwick acknowledges the importance of living—not merely surviving, but thriving.

—Staff writer Noël D. Barlow can be reached at nbarlow@fas.harvard.edu.