David O'ConnellNaked Among Wolves
October 27th 2009 20:41
A new contingent of prisoners arrives in Buchenwald from Auschwitz. Amid the throng, an old man is struggling to lug a suitcase as they enter the grounds of the camp. In it, a surprising cargo is concealed, an orphaned four year old boy. Representative of the innocence deprived during wartime, dozens of men will strive to conceal him from the Nazis, risking their sanity and even their lives in this humble but symbolic quest.
Frank Beyer’s superb 1963 film, based on a true story, was the first in Germany to deal directly with the touchy subject of the Holocaust. Though in essence the expected stereotypical figures are present in the form of callous, hardened Nazis without conscience, and oppressed prisoners clamouring for fleeting moments of dignity whilst subjected to all manner of cruelty, Bruno Apitz’s screenplay, an adaptation of his own book, probes much deeper. The distinguishing characteristics of these men are woven into the narrative with real complexity, banishing lazy, simplistic black and white portrayals.
In one of his first screen roles, Armin Mueller-Stahl makes a lasting impression as Hofel, the prisoner responsible for concealing the child initially; it's an act of moral compulsion that will see hellish retribution rained down upon the prisoners once devious SS officer Zweiling (Wolfram Handel) discovers the child’s presence, but rather than turn the knowledge over to higher powers, attempts to exploit it for his own gain.
As Zweiling’s risky ploy backfires, his lack of spine is revealed; he drops an anonymous tip-off into his superior’s lap and a seemingly futile search begins for the boy. As tensions rise and the prisoners utilise increasingly inventive methods of secreting the boy and avoiding detection, the SS turns to torture to uncover the truth.
Against the backdrop of this drama is the end of the war and worrying knowledge of American forces closing in, narrowing the window for rational decision-making; the SS officers all have an eye on preserving their own skins by any means possible and ruthless internal jostling becomes a cancer in their ranks.
Naked Among Wolves is one of the finest war-time films of any era, regardless of the extra significance it holds in the history of German cinema. It’s a deeply humane, stirring encapsulation of the true measure of courage that men reveal in desperate situations, especially in the face of wanton cruelty and relentless psychological pressure. That men of various backgrounds band together to form a resistance group makes their portrayal even more significant.
With impressive cinematic verve and a meticulous visual approach, Beyer has crafted a gripping drama; the prisoners prove to be genuine heroes when such a concept couldn’t be further from their minds. The evil surveyors of the SS may wield their oppressive authority as an implement of war with a frightening calm, but moments of doubt creep into their strategising, sealing their fate as the culmination of tensions is reached in a spirited prisoner revolt.
Beyer’s direction is first-rate; economical and yet with moments of real visual flair, including some wonderful, penetrating close-ups which act like a window into the characters deepest thoughts. The cast is uniformly brilliant, with many roles filled by one-time real life captives including Erwin Geschonneck in the key role of Kraemer. Ultimately, Naked Among Wolves, filmed on the grounds of the real camps, is a revelation; compelling entertainment, and yet socially and historically significant.
Naked Among Wolves will screen at ACMI (Australian Centre for the Moving Image) in Melbourne on Tuesday Nov. 3 as part of their Focus on East German Cinema.
Frank Beyer’s superb 1963 film, based on a true story, was the first in Germany to deal directly with the touchy subject of the Holocaust. Though in essence the expected stereotypical figures are present in the form of callous, hardened Nazis without conscience, and oppressed prisoners clamouring for fleeting moments of dignity whilst subjected to all manner of cruelty, Bruno Apitz’s screenplay, an adaptation of his own book, probes much deeper. The distinguishing characteristics of these men are woven into the narrative with real complexity, banishing lazy, simplistic black and white portrayals.
In one of his first screen roles, Armin Mueller-Stahl makes a lasting impression as Hofel, the prisoner responsible for concealing the child initially; it's an act of moral compulsion that will see hellish retribution rained down upon the prisoners once devious SS officer Zweiling (Wolfram Handel) discovers the child’s presence, but rather than turn the knowledge over to higher powers, attempts to exploit it for his own gain.
As Zweiling’s risky ploy backfires, his lack of spine is revealed; he drops an anonymous tip-off into his superior’s lap and a seemingly futile search begins for the boy. As tensions rise and the prisoners utilise increasingly inventive methods of secreting the boy and avoiding detection, the SS turns to torture to uncover the truth.
Against the backdrop of this drama is the end of the war and worrying knowledge of American forces closing in, narrowing the window for rational decision-making; the SS officers all have an eye on preserving their own skins by any means possible and ruthless internal jostling becomes a cancer in their ranks.
Naked Among Wolves is one of the finest war-time films of any era, regardless of the extra significance it holds in the history of German cinema. It’s a deeply humane, stirring encapsulation of the true measure of courage that men reveal in desperate situations, especially in the face of wanton cruelty and relentless psychological pressure. That men of various backgrounds band together to form a resistance group makes their portrayal even more significant.
With impressive cinematic verve and a meticulous visual approach, Beyer has crafted a gripping drama; the prisoners prove to be genuine heroes when such a concept couldn’t be further from their minds. The evil surveyors of the SS may wield their oppressive authority as an implement of war with a frightening calm, but moments of doubt creep into their strategising, sealing their fate as the culmination of tensions is reached in a spirited prisoner revolt.
Beyer’s direction is first-rate; economical and yet with moments of real visual flair, including some wonderful, penetrating close-ups which act like a window into the characters deepest thoughts. The cast is uniformly brilliant, with many roles filled by one-time real life captives including Erwin Geschonneck in the key role of Kraemer. Ultimately, Naked Among Wolves, filmed on the grounds of the real camps, is a revelation; compelling entertainment, and yet socially and historically significant.
Naked Among Wolves will screen at ACMI (Australian Centre for the Moving Image) in Melbourne on Tuesday Nov. 3 as part of their Focus on East German Cinema.
| 57 |
| Vote |
Comment by Matt Shea
20/20 Filmsight
Comment by David O'Connell
Screen Fanatic