Here’s one of the many reasons why the brilliant Philip Seymour Hoffman will be so sorely missed: his mere presence prompted other actors/actresses to up their game. Case in point here in A Most Wanted Man: the couldn’t be lovelier but normally vapid Rachel McAdams, shaky German accent and all, manages to actually make you feel for her troubled lawyer accused of being a social worker for terrorists. What’s even more amazing is that in an adaptation of John Le Carre novel you actually feel anything for anyone! With the emotional powder keg of The Constant Gardner being the exception to the rule, Le Carre’s spy procedurals are normally colder than an interrogation room metal tabletop. Yet Anton Corbijn wisely allows his A-list cast to tap into the quiet, bubbling under the surface, heartbreak of this post 9/11 spy-eat-spy world.
Philip Seymour Hoffman is Gunther Backmann, a world-weary German intelligence station chief in Hamburg who was burned by the CIA at his last post in Beirut where assets were betrayed and lives lost. He’s quietly been toiling away, utilizing McAdam’s liberal lawyer to reel in his minnow, a Chechen Muslim who entered Germany under cloak and dagger, that he hopes to dangle in front his barracuda, a renowned Islamic political activist and spiritual leader thought to be secretly funding a shipping company with terrorist ties. He tries to keep the CIA, represented by a professionally flirtatious Robin Wright, at bay, while aided by his right-hand woman played with subtle skill by the fantastic Nina Hoss. Willem Dafoe, meanwhile, plays a banker used as a pawn to channel the alleged funds that were left behind in secret by the Chechen’s recently deceased Russian crime lord father. Continue reading →
Saskia Rosendahl has a bright future ahead after her expert depiction of Germany’s dark past in LORE.
At a posh German estate, a gaggle of beautiful blond-haired blue-eyed children have been ignorant of the horrors of war but are now suddenly brooding when news of their Führer’s death hits home and their once stalwart and dependable parents suddenly lose it. Nazi officer dad and crumbling mom dash off on different paths headed for prison or death at the hands of the invading Allied forces. As is so classic in German folklore (notice the double meaning behind the film’s title – both our young protagonist’s short-hand name and representing a bit of modern volk-lore) the abandoned children led by Lore (a devastatingly natural Saskia Rosendahl – running hot and cold, confident and scared, petulant and innocent at the flip of a switch) disappear into the Black Forest headed for Grandmother’s house.
Adapted from a novel by Rachel Seiffert, Australian director Cate Shortland delivers in a realist way what The Boy in the Striped Pajamas (for all its power) fumbled heavy-handedly with in its attempt to declare Germany’s actions in WWII as a form of nationalist murder-suicide. Much like the children in Haneke’s The White Ribbon who grew up to become the people who joined the Nazi party, the children in Lore represent Germany as a whole…complacent, seduced and all too willing to follow a madman promising decorum and riches. When that madman dies, the cause is revealed as a vicious hoax, and the children are left to literally wander in the woods scrounging to survive.
Director Christian Petzold has Nina Hoss go “into the woods” in BARBARA.
In 1980 in East Germany a Berlin doctor (Nina Hoss in the titular role) is banished to a provincial village in the latest from auteur Christian Petzold, who again uses Hoss as his muse as he did so well in earlier films like Yella and Jerichow. Barabara plays it cold as ice in her new locale, while her West German lover hatches a plan to get her out by way of the sea and Denmark. Meanwhile, she can’t help but get sucked into tragic cases involving local teens while a provincial officer subjects her to humiliating and routine searches of her apartment and body. In a police state, even in a rural paradise, everyone is under suspicion.
In some ways Petzold’s Barbara plays like a pastoral version of The Lives of Others, but it’s more mellow drama than melodrama. Petzold holds back almost everything, his directorial style perhaps meant to mirror the psyche of those who lived under the Iron Curtain in East Germany and had to watch their every move while being monitored by the State. Details of Barbara’s past, as well as the pasts of others are sparse. Petzold mostly shows, rarely tells. Classical music, a famous Rembrandt painting and The Adventures of Huckleberry Finn are woven effortlessly into the story to add layers and fill in pieces of character development. Most things are to be inferred, and he’s blessed with Hoss’s controlled performance where she reveals little outwardly but speaks volumes with her eyes and restrained body language. Continue reading →
In the year preceding the start of World War I, a small German village is quietly rocked by a series of cruel events (crimes against the seemingly innocent) committed by unknown culprits in Michael Haneke’s The White Ribbon. The town’s children are both potential victims and suspects as the twisted natures of their parents’ sins are soon laid bare. In the midst of paranoia and gossip (though not as pointedly delicious as Clouzot’s Le Corbeau), a kind schoolteacher woos a sweetly naive nanny, a baron’s marriage disintegrates, a steward’s family crumbles, a pastor spares no rod and a doctor commits the greatest of sins. Originally conceived as a mini-series, there are many narrative threads and characters to keep track of, and Haneke provides glimpses into the varied lives of the different classes at work in the village and constructs something akin to a psychological case study of the personality types on display. One wonders how much more some of the stories would’ve opened up had Haneke the luxury of six or more hours to weave his tale.
The biggest problem with a Michael Haneke film is that it’s a Michael Haneke film. Continue reading →