FILMBRATS - REVIEWS

Hauptmann Gerd Wiesler is a worker for the government’s intelligence program. He’s since retired from the surveillance unit in order to teach young upstarts how to effectively spy and interrogate enemies of the Socialist state. After watching a play by one of the countries most promising and party loyal playwrights, Wiesler becomes suspicious. He asks to go back to his roots and monitor Mr. Georg Dreyman and his well-known actress girlfriend Christa-Maria Sieland. He sets out to prove that no one is clean and that this man is a threat to East Germany. Once he begins his mission, however, he finds himself questioning what loyalty really means.

Now, since I was a kid growing up in America during the 80s before the Berlin Wall fell (when this movie is set), it’s impossible for me to attest to the true emotional impact and resonance of the film would have on older generations. I can only assume it’s quite strong, however, because even a younger person like me was able to comprehend and appreciate the weight of the characters’ actions and the tense mood sprawled forth on the screen.

Writer/director Florian Henckel von Donnersmarck (in his feature debut) beautifully and masterfully composes scenes that manage to simultaneously convey optimism and despair, triumph and defeat, or duty and honor. It’s this constant dichotomy that makes the film so effective. You never know which side will win out. It’s not just a matter of good versus evil, or government versus opposing individual; we’re also watching the struggle between man versus himself. Every main character wrestles with their own perceptions of right and wrong and fight to internally rationalize the decisions they ultimately make (even if the actions they take are on the moral high ground).

The only real downside of the picture is that it reminded me too much of “The Conversation.” Both movies deal with similar subject matter in a somewhat similar way, although the outcomes and resolutions are vastly different. The ending of this movie couldn’t be a bigger departure and I’m very grateful for that not because it’s better (because it isn’t) but because it helps the film to finally form its own identity. I think the lack of a real strong social commentary is a huge plus. Just simply let the historical fears and ramifications speak for themselves.

It all works together wonderfully. The great acting, the smart, tight emotionally loaded, yet subdued script and the exquisitely dank and dismal cinematography form a movie that is fascinating and satisfying from start to finish. You may not want to start spying on people after its done, but you may want to sneak another peek at this one.

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