David O'ConnellThe Reader
March 2nd 2009 04:48
Stephen Daldry’s dour literary adaptation, The Reader, offers a remote, less than sympathetic lead character in Kate Winslet’s Hanna Schmitz; she’s not exactly a transparent one either, her mind and motives difficult to penetrate. Set in Germany after WWII, this adaptation by David Hare of Bernhard Schlink’s novel takes us into the lives of both Hanna, and the 15 year old boy she befriends and makes her lover.
Though inextricably entwined for a while, in a physical sense, Hanna only takes an interest in the life of Michael (David Kross) through his schoolwork and in particular, the books he’s assigned to read. Hanna prefers to hear their words spoken aloud by Michael and she finds great comfort and emotional nourishment from the powerful stories that he brings to life with his voice.
A few years later Michael, now a law student who has never forgotten – or recovered from - his magical spellbound summer with Hanna, encounters her again, in a very different context; society has changed - as will his perception of her and the significance of the intimacy they shared. A series of dark crossroads now lays ahead with painful, morally complex decisions linked to them.
The memories evoked prove to be especially meaningful ones for the grown Michael (Ralph Fiennes), around whom a pall of grave solemnity hovers as he confronts his past to find clues to a last, haunting decision and, finally, a sense of closure.
Somehow Hanna’s journey elicits a strong emotional response and Daldry's reserved direction, honed to perfection in The Hours, is an influential factor. Perhaps it’s such a genuinely moving story because of the way in which heinous deeds are given surprising human dimensions, but also because it taps into the transformative power of literature, the act of reading hiding a deeper connection to unspoken truths that have the power to alter the course of lives - leaving detailed but corrupted impressions that refuse to fade with time.
Kate Winslet is excellent in her Oscar-winning role as the efficient, mildly sympathetic, yet mostly inscrutable Hanna - but wasn’t she much better than this in the brilliant Revolutionary Road? Fiennes gives Michael a repressed and quiet dignity, whilst newcomer David Kross is suitably convincing as the innocent boy whose first affair leaves wounds that mark him for the rest of his life.
Nico Muhly’s subtle score provides another strong voice with the calculating presence of his piano leaving its trace everywhere. Muhly, at 27, is the youngest composer to work on such a major release in many years, and his style does bear some influence of his former teacher Philip Glass.
Ultimately, this compelling film, with its grim outlook, is liable to arouse conflicting emotional responses from audiences. With the underlying moral repugnance attached to its main character, it’s hard to justify the sympathy I felt for her as her history unfolds like a series of time-lapse photos seen through other characters’ eyes.
There’s a convoluted, morally ambiguous heart at The Reader's epicenter. It’s not easy to forgive certain things in life, nor forget the outcome of deathly deeds, but regardless, there's always a human story beneath the horror, and this, quite conceivably, could be one of them.
Though inextricably entwined for a while, in a physical sense, Hanna only takes an interest in the life of Michael (David Kross) through his schoolwork and in particular, the books he’s assigned to read. Hanna prefers to hear their words spoken aloud by Michael and she finds great comfort and emotional nourishment from the powerful stories that he brings to life with his voice.
A few years later Michael, now a law student who has never forgotten – or recovered from - his magical spellbound summer with Hanna, encounters her again, in a very different context; society has changed - as will his perception of her and the significance of the intimacy they shared. A series of dark crossroads now lays ahead with painful, morally complex decisions linked to them.
The memories evoked prove to be especially meaningful ones for the grown Michael (Ralph Fiennes), around whom a pall of grave solemnity hovers as he confronts his past to find clues to a last, haunting decision and, finally, a sense of closure.
Hanna(Kate Winslet) with her Reader Michael (David Kross)
Somehow Hanna’s journey elicits a strong emotional response and Daldry's reserved direction, honed to perfection in The Hours, is an influential factor. Perhaps it’s such a genuinely moving story because of the way in which heinous deeds are given surprising human dimensions, but also because it taps into the transformative power of literature, the act of reading hiding a deeper connection to unspoken truths that have the power to alter the course of lives - leaving detailed but corrupted impressions that refuse to fade with time.
Kate Winslet is excellent in her Oscar-winning role as the efficient, mildly sympathetic, yet mostly inscrutable Hanna - but wasn’t she much better than this in the brilliant Revolutionary Road? Fiennes gives Michael a repressed and quiet dignity, whilst newcomer David Kross is suitably convincing as the innocent boy whose first affair leaves wounds that mark him for the rest of his life.
Ralph Fiennes as the older Michael
Nico Muhly’s subtle score provides another strong voice with the calculating presence of his piano leaving its trace everywhere. Muhly, at 27, is the youngest composer to work on such a major release in many years, and his style does bear some influence of his former teacher Philip Glass.
Ultimately, this compelling film, with its grim outlook, is liable to arouse conflicting emotional responses from audiences. With the underlying moral repugnance attached to its main character, it’s hard to justify the sympathy I felt for her as her history unfolds like a series of time-lapse photos seen through other characters’ eyes.
There’s a convoluted, morally ambiguous heart at The Reader's epicenter. It’s not easy to forgive certain things in life, nor forget the outcome of deathly deeds, but regardless, there's always a human story beneath the horror, and this, quite conceivably, could be one of them.
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Comment by Teresa Ralton
MRS SMITH
READ THIS
SISTERS IN CRIME
I haven't seen this film - but I love Kate Winslet. However, I notice that no-one has made any moral judgement about the very big age difference between the 2 main characters. I find that very interesting in light of the recent 13 yr old boy case and the debate which exploded here on Orble. Does a relationship, in film or in a book, escape the same rigorous moral questioning that exists in society? Or is that people can appreciate, through the filter of Art, that no judgement can be absolute?
Comment by Matt Shea
20/20 Filmsight
Comment by David O'Connell
Screen Fanatic
Hey Teresa, you make a brilliant point. The relationship does indeed escape the rigorous moral questioning that exists in society. In fact, the moral ramifications are never really dwelled upon at all, almost as if this is a world in which 15 year old boys having relationships with older women is commonplace and nothing extraordinary. Like you say, under the pretense of art, anything can be made to seem insignificant and excusable.
I'd love to know what you think of the film once you've seen it.
Comment by Teresa Ralton
MRS SMITH
READ THIS
SISTERS IN CRIME
I will try to see it - on DVD I guess - and let you know.
Comment by Janet Collins
Acceptable Etiquette
The Social Critic
Janet Collins Blog
I saw this one the other day. I often think it is good to take a look at someone else's review after I have seen a movie and yours certainly summed it up for me.
I too felt great sympathy for the main character, Hanna and I guess that goes down to the great acting skills of Kate Winslet.
Comment by David O'Connell
Screen Fanatic