CrankyÕs
Flickershow Reviews
By Neil Richter
The Zephyr, Galesburg
Berlin Blues
One of the
safest picks at last yearÕs academy awards was in the best foreign film
category. Guillermo del-ToroÕs
acclaimed fantasy, PanÕs Labyrinth,
was already riding high with five other nominations, three of which it took
home by the end of the night. Del-ToroÕs achievement seemed all but
unstoppable. Then, a funny thing
happened. In one of the only real
twists of the night, an unassuming German film crept out of nowhere and took
the gold statuette. That movie was
The Lives of Others. Compared to the juggernaut of PanÕs
Labyrinth, Das Leben Der Anderen, as it is known in its home country, was every inch
the underdog in its category.
However, one viewing proves that this film is every bit the out-and-out
masterpiece that PanÕs Labyrinth
came so perilously close to being.
Florian Henckel von Donnersmarck (bet the kids in school loved that
name) has crafted a meticulously plotted, emotionally engaging miracle of a
film; and this is only his first effort as a director outside of German
television.
The
Lives of Others takes place in the
grey, grey world of East Berlin, circa 1984. The Wall still stands high. The state police keep an iron grip around the populace. The Stasi, as they were known, use a
mixture of surveillance and psychological torture to maintain control. Something as simple as an innocent joke
can cost someone their job, or their freedom. Wives are encouraged to report on their husbands. Neighbors
keep a close eye on each other. In
short, OrwellÕs predictions for that fateful date have come true for those
unfortunate enough to live in East Berlin. The scary thing is that DonnersmarckÕs vision is
frighteningly true to life. When
the Berlin wall came crashing down, thousands of ordinary BerlinerÕs were
shocked to discover that the Stasi had been spying on them for years without
their knowledge. Into this grim
vision steps Stasi agent Gerd Wiesler, played by popular German film actor
Ulrich Muhe, who died tragically of cancer earlier this month. Wiesler is a ruthless interrogator for
the Stasi. As Muhe plays him,
Wiesler is a hollow shell of a man:
humorless, unassuming, and bland.
WieslerÕs utter lack of a defining trait goes all the way down to his
wardrobe, which comes in a vast array of grays, and nothing else. In other words, he is the perfect Stasi
agent, a man defined only by his fanatical devotion to a cause. The plot is set in motion when Wiesler
is sent to bug the house of a popular playwright and his girlfriend. What the audience comes to realize is
that this particular mission is less about protecting the Republic, and more
about the impure designs a government bigwig has on the playwrightÕs fiancˇe. Wiesler is, in effect, being used to
get somebody elseÕs romantic rival out of the way. So far, so typical.
This is where DonnersmarckÕs narrative gets interesting. WieslerÕs endless hours in an empty
upstairs attic, listening in on the life of this bohemian couple, begin to take
its toll on him. Headphones clamped firmly to his thin, bloodless face, writing
reports on every aspect of the goings-on downstairs, something begins to happen
to Wiesler. Perhaps for the first
time, he bears witness to a life far different from his own. A life of intimacy and warmth, where
human connection isnÕt simply cause for suspicion and paranoia. Seem sappy? Trust me, itÕs anything but. Slowly, fissures start to crack open within this small gray
man. Eventually, he decides to
sabotage his own operation, putting himself at odds with everything he has
embraced as an agent of the Stasi.
IÕll stop my synopsis here, as to not spoil the intricate machinations
that follow.
But thereÕs
more, so much more. IÕve barely
scratched the surface of the simple, yet vast invention that Donnersmarck has
created. Therefore, IÕll narrow it
down to two small details that define this as a great film. The first is MuheÕs performance. Seeing this film breaks your heart
twice over when you realize that the actor is dead. He is that good
here. Months ago I complained
about Matt DamonÕs performance in The Good Shepherd. I said
that, though he was effective, his character was a complete and utter cipher,
closed off from the audience in every way. Muhe takes a very similar character and works wonders. His Wiesler seems to communicate with
the audience telepathically. He is
that subtle. A perfect example
would be Muhe listening to a piece of classical music from his attic
perch. His face is blank, his eyes
still, his posture rigid. The
single tear that he sheds looks more like a makeup trick than anything
organic. Still, something is going
on. Something big. How is it that we can see everything,
can empathize so completely with an actor, when they give us absolutely nothing to hang onto.
This is the type of performance that comes along only once in a great
while. ItÕs truly a shame that we
will never see another one out of this actor again.
The second
detail is the cinematography. Many
have called The Lives of Others
visually unremarkable. True, the
drab apartments, offices, and buildings that form the landscape of this film are boring and derivitive. ThatÕs the point.
Donnersmarck and his cinematographer, Hagen Bogdanski have done a
brilliant job of squeezing every speck of color out of each frame. The Stasi offices look like the
interior of some kind of IKEA from hell where everything comes in grey, brown
or off-white. The police uniforms
are made up of oversized slate-colored trenchcoats transported straight of out
Casablanca, only this time theyÕre being worn by gray, aging civil
servants. One rarely sees a world
of quiet desperation so thoroughly put-forth. To become entranced by this filmÕs atmosphere, to imagine
oneself in such a place, is truly terrifying. It is within this environment that Donnersmarck, along with
his cast and crew, take the audience.
The story he tells within these interiors is one where the thrills come
not from explosions, shootings, and star-power; but from character and
motivation. It is a distinctly old-fashioned
notion, one that people return to black and white films for again and again,
decades and decades after their release.
Obviously, there is something about it that is timeless, that draws us. Too bad so few films embrace it. In the meantime, we have The Lives
of Others to tide us over. Check this one out if you get the
chance.
8/2/07