Franco Cicero The chilling "normality" of a dictatorial system is made to perfection in the strict and sensitive film debut of Florian Henckel von Donnersmarck, "The Lives of Others," who has the courage to confront a painful chapter of recent German history. The screenplay, meticulously written by the same director, describes it with a few touches of impressive precision the gray existence in East Germany, the GDR at the time of the Soviet bloc.
The gray was the dominant color of the buildings in East Berlin and its cross streets from the "Trabant" (the cars, "communist") or some powerful cars of the bureaucrats of the party. Gray, mostly, even the clothes of the members of the nomenklatura of the Soviet Union most loyal satellite state until a few moments before the fall of the Berlin Wall in November 1989.
The story told in the film takes place in '84, but no one sees any signals that may portend that just five years could be initiated after the reunification of Germany. Respect, so to speak, and asphyxiating the action of the "Stasi" secret police of the DDR that could count a hundred thousand and more effective on hundreds of thousands of informers. It was the shocking realization of the "Big Brother" of Orwell, with a staggering average ratio of "controlled" and "controllers".
No bloody violence, as in the days of Nazism, but a persuasive but almost invincible psychological pressure, effectively represented the beginning of the film with the manic "lesson" on the relentless interrogation techniques of the Stasi agents. The more "good cop, Captain Wiesler is instructed by his superiors to spy on the most successful playwright of the moment, Dreymand, and his girlfriend, Christa-Maria, acclaimed actress.
In any dictatorship, the intellectuals are regarded with suspicion, even when they seem loyal to the regime. Wiesler is so subtly pleased to be able to fill the house Dreymand bugs. The Stasi agent, however, makes no account be used for very different reasons by the defense Communist orthodoxy. An influential minister is anxious to get rid of the playwright to get go-ahead with Christa-Maria.
might seem that you create a "sympathy" between the controller and controlled, as in the wonderful film by Francis Ford Coppola's "The conversation. " Here, however, the mechanism is further refined. The impassive Wiesler discovers he is able to be moved by a poem by Brecht or a sonata of Beethoven: he's culture for the greater good, beyond ideology. But it can not detect. On these bases
intriguing, Florian Henckel von Donnersmarck's film constructs a asciuttissimo and engaging, inexplicably snubbed by the Festival and then more Europeans Oscar winner (with three prizes: movie, actor and screenplay) and Hollywood Oscar as best foreign film. The director, 34 years of intense international studies with Sir Richard Attenborough, has reached its first feature film after a preparation of many years, allowing him to show a commendable maturity to know the confidence with which the determination of accurate historical information with the mechanics of suspense.
In a highly theatrical film from the characters, we appreciate very much evidence of excellent players: Martina Gedeck is painful Christa-Maria, Sebastian Koch has the bewildered playwright, Ulrich Tukur Colonel is slippery. On all, the "spy" Ulrich Mühe, the emblem of obedience but not to dullness.
The story told in the film takes place in '84, but no one sees any signals that may portend that just five years could be initiated after the reunification of Germany. Respect, so to speak, and asphyxiating the action of the "Stasi" secret police of the DDR that could count a hundred thousand and more effective on hundreds of thousands of informers. It was the shocking realization of the "Big Brother" of Orwell, with a staggering average ratio of "controlled" and "controllers".
No bloody violence, as in the days of Nazism, but a persuasive but almost invincible psychological pressure, effectively represented the beginning of the film with the manic "lesson" on the relentless interrogation techniques of the Stasi agents. The more "good cop, Captain Wiesler is instructed by his superiors to spy on the most successful playwright of the moment, Dreymand, and his girlfriend, Christa-Maria, acclaimed actress.
In any dictatorship, the intellectuals are regarded with suspicion, even when they seem loyal to the regime. Wiesler is so subtly pleased to be able to fill the house Dreymand bugs. The Stasi agent, however, makes no account be used for very different reasons by the defense Communist orthodoxy. An influential minister is anxious to get rid of the playwright to get go-ahead with Christa-Maria.
might seem that you create a "sympathy" between the controller and controlled, as in the wonderful film by Francis Ford Coppola's "The conversation. " Here, however, the mechanism is further refined. The impassive Wiesler discovers he is able to be moved by a poem by Brecht or a sonata of Beethoven: he's culture for the greater good, beyond ideology. But it can not detect. On these bases
intriguing, Florian Henckel von Donnersmarck's film constructs a asciuttissimo and engaging, inexplicably snubbed by the Festival and then more Europeans Oscar winner (with three prizes: movie, actor and screenplay) and Hollywood Oscar as best foreign film. The director, 34 years of intense international studies with Sir Richard Attenborough, has reached its first feature film after a preparation of many years, allowing him to show a commendable maturity to know the confidence with which the determination of accurate historical information with the mechanics of suspense.
In a highly theatrical film from the characters, we appreciate very much evidence of excellent players: Martina Gedeck is painful Christa-Maria, Sebastian Koch has the bewildered playwright, Ulrich Tukur Colonel is slippery. On all, the "spy" Ulrich Mühe, the emblem of obedience but not to dullness.
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