David O'ConnellThe Lives of Others
October 27th 2008 04:58
The artistic expression we take for granted was a luxury known to too few, in the years before the fall of the Berlin wall, in the East of Germany. The omniscient powers of the German Democratic Republic's secret police, the Stasi, are revealed with a frightening clarity in the early scenes of Germany’s 2007 Oscar winner for Best Foreign Film, The Lives of Others.
Written and directed by Florien Henckel von Donnersmarck, the film begins in 1984 (an obvious starting point considering the subject matter) and introduces a stoic, dispassionate Stasi officer, Captain Wiesler (the late Ulrich Muhe), who is regarded as a first rate interrogator; he even instructs young recruits on the finer points of grilling subjects, in targeting their weak spots to deflect the truth from their self-preserving casing of lies.
His life is about to be consumed by an unusual case however, beginning with his enchantment of a beautiful theatre actress, Christa-Maria Sieland (Martina Gedeck), the girlfriend of playwright Georg Dreyman (Sebastian Koch).
With all artists placed under careful scrutiny for possible radical leanings in their work that subvert the party line, Wiesler spies an opening, informing his superior officer Grubitz (Ulrich Tukur) that tabs need to be kept on the pair of suspicious artists.
In reality, Wiesler’s recommendation is a ploy fueled by his intense fascination for Christa-Maria – he volunteers to head the surveillance himself, with a single hand-picked subordinate for relief duty; an elaborate series of bugs has been planted within the couple’s apartment building, their recording base established in its abandoned loft.
Complications will soon develop for Wiesler, his old loyalties threatened by new connections and the dangers inherent in choosing one side or the other. A high-ranking minister, overseeing the case and who also covets the actress, will impede him, as will politically dangerous movements within Dreyman’s literary circle.
The titanic battle within an individual between loyalty to his country’s cause and its suffocating ideals, and a suppressed humanistic streak threatening to re-awaken, is at the heart of Donnersmarck’s film; and the outcome will have repercussions for both Dreyman and Christa-Marie in ways they can’t imagine.
Even at 130 minutes, Donnersmarck’s feature debut feels perfectly paced, with a riveting narrative providing fascinating glimpses behind East Germany’s Iron Curtain, as well as the walled-up conscience of its lead character.
It works on so many levels - as drama, psychological thriller, as well as social commentary, and the outcome is never certain.
The late Muhe, who died of stomach cancer last year, gives a commanding performance as the conflicted Wiesler, a complex man whose dedication has thrived under East German rule with his calculating, unemotional demeanor, but is now subject to alien emotional responses for which he’s totally unprepared.
His face rarely changes expression, yet in his eyes can be detected a range of evolving emotional reactions; it's a fitting final tribute to Muhe's acting skills.
The austere visual style is enhanced superbly by composers Gabriel Yared and Stephane Moucha whose main themes – one a lush refrain employed for emotional connection, the other an effective tension-building motif - develop a reverberating life of their own as the film unfolds.
By its wonderful, almost perfect conclusion, this outstanding film has been stretched with a host of relevant themes and should be considered must-see viewing for any lover of world cinema.
(The only downside? Another dreaded Hollywood remake is in the works!!)
Written and directed by Florien Henckel von Donnersmarck, the film begins in 1984 (an obvious starting point considering the subject matter) and introduces a stoic, dispassionate Stasi officer, Captain Wiesler (the late Ulrich Muhe), who is regarded as a first rate interrogator; he even instructs young recruits on the finer points of grilling subjects, in targeting their weak spots to deflect the truth from their self-preserving casing of lies.
His life is about to be consumed by an unusual case however, beginning with his enchantment of a beautiful theatre actress, Christa-Maria Sieland (Martina Gedeck), the girlfriend of playwright Georg Dreyman (Sebastian Koch).
With all artists placed under careful scrutiny for possible radical leanings in their work that subvert the party line, Wiesler spies an opening, informing his superior officer Grubitz (Ulrich Tukur) that tabs need to be kept on the pair of suspicious artists.
The late Ulrich Muhe as Captain Wiesler
In reality, Wiesler’s recommendation is a ploy fueled by his intense fascination for Christa-Maria – he volunteers to head the surveillance himself, with a single hand-picked subordinate for relief duty; an elaborate series of bugs has been planted within the couple’s apartment building, their recording base established in its abandoned loft.
Complications will soon develop for Wiesler, his old loyalties threatened by new connections and the dangers inherent in choosing one side or the other. A high-ranking minister, overseeing the case and who also covets the actress, will impede him, as will politically dangerous movements within Dreyman’s literary circle.
The titanic battle within an individual between loyalty to his country’s cause and its suffocating ideals, and a suppressed humanistic streak threatening to re-awaken, is at the heart of Donnersmarck’s film; and the outcome will have repercussions for both Dreyman and Christa-Marie in ways they can’t imagine.
Tortured artists: playwright Georg Dreyman (Sebastian Koch) and his actress girlfriend Christa-Maria (Martina Gedeck)
Even at 130 minutes, Donnersmarck’s feature debut feels perfectly paced, with a riveting narrative providing fascinating glimpses behind East Germany’s Iron Curtain, as well as the walled-up conscience of its lead character.
It works on so many levels - as drama, psychological thriller, as well as social commentary, and the outcome is never certain.
The late Muhe, who died of stomach cancer last year, gives a commanding performance as the conflicted Wiesler, a complex man whose dedication has thrived under East German rule with his calculating, unemotional demeanor, but is now subject to alien emotional responses for which he’s totally unprepared.
Checking connections in the loft
His face rarely changes expression, yet in his eyes can be detected a range of evolving emotional reactions; it's a fitting final tribute to Muhe's acting skills.
The austere visual style is enhanced superbly by composers Gabriel Yared and Stephane Moucha whose main themes – one a lush refrain employed for emotional connection, the other an effective tension-building motif - develop a reverberating life of their own as the film unfolds.
By its wonderful, almost perfect conclusion, this outstanding film has been stretched with a host of relevant themes and should be considered must-see viewing for any lover of world cinema.
Your interrogator awaits...............
(The only downside? Another dreaded Hollywood remake is in the works!!)
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Comment by Janet Collins
Acceptable Etiquette
The Social Critic
Janet Collins Blog
I saw this one when it was first released on DVD and loved it - so much so I don't even remember it being 130 minutes long.
Janet
Comment by Cibbuano
20/20 Filmsight
Science News
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Does it have a connection to "The Conversation" by Coppola?
Comment by David O'Connell
Screen Fanatic
It definitely does bear some resemblance to The Conversation Cib, with the eavesdropping and political context. The Lives of Others is probably slightly inferior but only just!
Comment by RubySoho
Music Zone
Thought Zone
Comment by David O'Connell
Screen Fanatic
Apparently there's been a lot more controversy about The Counterfeiters, which won that award earlier this year.
Comment by RubySoho
Music Zone
Thought Zone
Comment by David O'Connell
Screen Fanatic
It's just been released on DVD I think; hopefully we can see it soon to judge for ourselves!