Seemingly taking a lot of its cues from the classic but now woefully unappreciated 1965 Sidney Lumet drama "The Pawnbroker," which starred Rod Steiger as a Holocaust survivor in Poland experiencing flashbacks to his concentration camp experience while living in Harlem, "The Survivor" is a flashback-driven movie. It jumps back and forth through time, but always anchors its memory-snippets to moments in the present that trigger the hero: Barclay telling Harry (in what he thinks is an inspirational manner) that Marciano doesn't know he's about to fight an "animal"; a Fourth of July fireworks display that makes Harry think about a bombing raid on the camp; even the simple act of walking on a beach, which makes Harry imagine his wife's shadow joining his, and holding his hand.
The editing, by Douglas Crise, doesn't push this technique as far as a film like "All That Jazz" or "The Tree of Life," tending to present the past in terms of full scenes rather than snippets. But the way the images initially invade Harry's consciousness brings a welcome quality of graceful precision to what might otherwise have felt like a familiar storytelling approach. A case could be made that "The Survivor" would be a deeper, greater film if it had been told in either a simpler or more complex way, or entirely avoided many of the standard elements in biographical movies, sports movies, and Holocaust dramas, and that is surely true.
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