In the screenplay by Bozenna Intrator  and David S. Ward (whose screenplays include “Sleepless in Seattle”) the religious differences of the couple are not as much an issue for their families as it is when the Germans invade, and her family is sent off to a concentration.

Vowing to find a way to find and free her, Suter’s earnest character trains under the tutelage of the country’s most famous tenor (played by Stellan Skarsgård), who is able to arrange a recital at a notorious Nazi camp where she is being held. There, her talents are exploited by the guards who force her to perform in a camp string quartet. 

In this unusual setting, where even exchanging glances would endanger the prisoner, they must communicate and express their love solely through the music — his through voice (with Emil Lawecki providing the young man’s operatic tenor) and her stirring response on violin (also dubbed: it’s Janusz Wowowski playing the first post-war Poland Stradivarius 1685).

Together they perform a song from Bizet’s “Carmen” that is both the emotional high point of the film and entirely without spoken dialogue — a remarkable achievement.

Coolidge’s hit movies are known for more modern approaches to music, though, including “Valley Girl” and “Material Girls.”

Now in her 70s, she has a sure hand on a production she had to not only oversee a lot of moving parts in the large set pieces, but fight in court to win control of her cut. For all of its grandeur, it focuses on a very specific human story while including a lot of unique details, such as the hidden room kids used for their musical clubhouse at the school turned into a hiding room for the Jewish family once the Nazis invade.

A plan to spring Clemens’ character from the camp doesn’t quite work; there’s quite a search for her once there’s word it’s possible that she escaped before liberation. And when she is found much later in New York, a shaken survivor, there is more heartbreak that again seems understandable and entirely human — her forced playing has made her hate playing violin and anything to do with music. There is question whether she’ll even see Suter’s character in a recital — though when that happens, there is another moment where the music soars once more as he sings from Gluck’s “Orfeo ed Euridice.”

There are plenty of well-chosen and effective classical pieces in the score, to further enhance the story and cinematography of Alexander Gruszynski. But these moments where the music speaks for the star-crossed lovers elevates the enjoyable “I’ll Find You” beyond the ordinary.

There is a tinge of old-fashioned movie making here, and yet the chaste love scenes and somewhat glossed-over war scenes make it the kind of romantic fare fine for families. 

“I’ll Find You” is available on Redbox, Amazon Prime Video, Vudu, Roku and Apple TV.