A Hidden Life

 

Written and directed by Terrence Malick, A Hidden Life is the story about Franz Jagerstatter who is an Austrian farmer and devout Catholic who refused to fight for the Nazis during World War II as he would later be beatified by the Catholic Church. A historical drama that is based on diaries and notes on Jagerstatter’s life that includes his time with wife Franziska, the film is a look into a man whose silence and questions about humanity makes him a target for those who are appalled by his actions as Jagerstatter is portrayed by August Diehl and his wife Franziska aka Fani is played by Valerie Pachner. Also starring Mathias Schoenaerts, Jurgen Prochnow, Maria Simon, and the final film appearances of Bruno Ganz and Michael Nyqvist. A Hidden Life is an intoxicating and ravishing film from Terrence Malick.

Set largely in the small mountainside village of St. Radegund, Austria from 1939 to August of 1943, the film revolves around the life of Franz Jagerstatter as a farmer who tends his family land with wife Fani as well as their three young daughters, his mother, father-in-law, and sister-in-law Resie (Maria Simon) as World War II begins as he refuses to fight for Nazi Germany due to his principles and questions into why should anyone kill another person? It’s a film with a simple premise as it play into a man with strong beliefs as he copes with what he’s being asked as he would also be aware of the horrors of war just as his village is being swept up by the ideology of nationalism. The film’s screenplay by Terrence Malick is a largely straightforward affair as he returns to a traditional three-act narrative following a period of loosely-based films with no scripts. Notably as much of the script is based on corresponding letters, notes, and diaries from Jagerstatter and his wife where Malick maintains this narrative of a man holding on to his faith and his devotion to God during a tumultuous time that is World War II.

A common trait in Malick’s work is in the voice-over narrations as the film is told through both Franz and Fani with the first act being about their life together at St. Radegund as farmers raising three young daughters with Franz briefly leaving to do basic training until France’s surrender to Germany where he is sent home. Yet, his return home to his farm life is brief as the war rages on where able-bodied Austrians have to swear an oath of allegiance to Adolf Hitler and the Third Reich as it’s something Franz just couldn’t do. Even during his time in basic training, he saw images that haunt him as he goes to his local priest in Ferdinand Furthauer (Tobias Moretti) for guidance as the priest does give Franz a chance to speak with Bishop Joseph Fleisser (Michael Nyqvist) for advice but doesn’t get anything that will help him. The film’s second act play into Franz trying to decide on what to do as he and his family become ostracized over his beliefs as he would go to prison and await his fate with Fani dealing with the verbal abuse of many locals despite the help of a few.

Malick’s direction is definitely rapturous in not just in his overall presentation but also in maintaining something spiritual in the world he’s in. Shot on various locations in northern Italy near the Alps with some parts shot at the Studio Babelsberg at Postdam, Germany and the meeting with Bishop at Brixen, Austria. The locations for St. Radegund is a character in the film where Malick’s usage of wide and medium shots of its mountain ranges, skies, trees, grass, and wheat fields really play into this idyllic world that is simple and almost disconnected from the world of the cities as if they’re not distracted by its chaos. Shot on various styles ranging from these gliding tracking shots on Steadicams or in these hand-held camera shots with wide lenses that gets a lot of coverage of the rooms or locations these characters are in. Malick does play into a world where everyone knows everyone and treat each other with kindness and decency but then news about World War II and Austria being swept up by German nationalism of the Nazis where everything changes.

The constant imagery of nature does play into the tone of the story where the usage of dark rain clouds and dark colors do emphasize what is to come and how dark the world becomes with Franz and Fani both becoming ostracized for their beliefs. Malick does maintain that intimacy in the direction as it relates to the love between Franz and Fani through medium shots and close-ups as well as through their corresponding letters in the film’s second and third acts. Notably with Franz going to different prisons in Enns and later Berlin where he would meet his fate on August of 1943 as there are individuals, including a judge, (Bruno Ganz) at Franz’s trial who understands what he’s doing yet are aware of the consequences he is facing. Malick also would infuse stock footage that include rare home movies from Adolf Hitler and images of trains as it play into some of the narration about the dilemma that Franz is dealing as well as some of the abuse that Fani would go through.

Malick also showcase some of these fanatical moments of nationalism that definitely echo a lot of what had been happening in the U.S. in the late 2010s as it is clear that there is some political subtext that Malick has brought yet he chooses to state his views in a subtle and silent manner. Even with Franz being someone who is just asking simple questions that local leaders to those up in the higher echelons of the government at the time refuse to answer. Yet, Malick does something remarkable towards the end of the film that does have a near-three hour running time for a story that is simple as it says a lot about those who aren’t willing to ostracize nor take sides of anything by just being decent. Even as something as simple as faith being the one thing that allows a person to be grounded and ask these questions during a dark time of inhumane events happening as this one man stands up for his beliefs as well as be human in these horrific times. Overall, Malick crafts a touching and evocative film about an Austrian farmer who refuses to pledge his allegiance to Nazi Germany during World War II through an act of silent defiance.

Cinematographer Jorg Widmer does phenomenal work with the film’s cinematography with its emphasis on natural lighting as it helps capture the lush colors of green trees and forests as well as many of the natural surroundings with some low-key artificial lighting for some of the interiors as it is a highlight of the film. Editors Rehman Nizar Ali, Joe Gleason, and Sebastien Jones do brilliant work with the editing with its stylish usage of jump-cuts to play into some of the emotional elements of the film as well as some rhythmic cuts to play into the conversations. Production designer Sebastian T. Krawinkel, with set decorator Yesim Zolan plus art directors Steve Summersgill and Bryce Tibbey, does brilliant work with the look of the farm as well as some of interiors of the town as well as the prison interiors. Costume designer Lisy Christl does fantastic work with the costumes from the blue dress that Fani wears when she meets Franz for the first time as well as a lot of casual look of the people at St. Radegund and the Nazi uniforms of the times.

Hair/makeup designer Waldemar Pokromski does terrific work with the look of the characters in the hairstyle of the times as well as the facial hair in some of the male characters in the film. Visual effects supervisor Antoine Durr does nice work with the visual effects as it is largely bits of set dressing in some of the locations. Sound editor Brad Engleking does excellent work with the sound in not just capturing a lot of the natural elements of the sound such as the sharpening of the scythe as well as the locations and in the voice-over narrations. The film’s music by James Newton Howard is marvelous for its somber yet broad orchestral music score that adds to the drama while music supervisor Lauren Mikus helps provide a soundtrack that feature several classical music pieces Georg Fredric Handel, Avro Part, Johann Sebastian Bach, and Antonin Dvorak.

The casting by Anja Dihrberg is superb as it feature some notable small roles and appearances from trio of Ida Mutschlechner, Maria Weger, and Aennie Lade as Franz and Fani’s daughters, Amber Shave and Barabara Stampfl as younger versions of the two elder daughters, Karl Markovics as the mayor of St. Radegund, Johan Leysen as a church painter, Johannes Kirsch as a miller who is one of the few that treats Fani with kindness despite the behavior of the community, Franz Rogowski as a crazed local who lives in the woods, Mark Waschke as a kind blacksmith, Maria Stadler as an old widow that Fani helps out who later helps her in return, Alexander Fehling as Franz’s trial lawyer, Sophie Rois as Fani's aunt, Jurgen Prochnow as a military officer, Maria Simon as Fani’s sister Resie, and Karin Neuhauser as Franz’s mother who would resent Fani over her Franz’s decisions only to see the cruelty of her townspeople. Ulrich Matthes and Tobias Moretti are excellent in their respective roles as Fani’s father and the local priest Father Furthauer who are both supportive of Franz and Fani. Matthias Schoenaerts is fantastic in his small role as an Austrian official who tries to help Franz and to not get him in trouble while Michael Nyqvist in one of his final film roles is brilliant as the Bishop Fleisser who talks with Franz though he doesn’t give any answers possibly to not upset the Nazi regime.

Bruno Ganz is amazing as the trial judge who takes the time to understand what Franz is doing as he is also aware that the man has chosen his fate as it’s a somber performance from Ganz in one of his final film appearances. Finally, there’s the duo of August Diehl and Valerie Pachner in phenomenal performances in their respective roles as Franz and Franziska “Fani” Jagerstatter with the former as the farmer who refuses to fight for Nazi Germany based on principle as he also asks questions as he holds on to his faith as Diehl just displays a sense of humility and wonderment of a man standing up for his beliefs. Pachner as the latter has this air of grace in her performance as a farmer’s wife trying to raise her daughters and do all the farming duties as she dealt with the struggle of doing it by herself or with her sister as it’s just a radiant performance as she and Diehl just have this touching chemistry as they’re a major highlight of the film.

A Hidden Life is an outstanding film from Terrence Malick that features great performances from August Diehl and Valerie Pachner. Along with its ensemble cast, radiant cinematography, majestic music soundtrack, themes of faith and beliefs against the ideas of evil, and gorgeous locations. The film is definitely a drama that showcases faith in a positive way as it also play into a kind of act of humanity against something as inhumane as war and fanatical nationalism. In the end, A Hidden Life is a magnificent film from Terrence Malick.

Terrence Malick Films: Badlands - Days of Heaven - The Thin Red Line - The New World - The Tree of Life - To the Wonder - Knight of Cups - Voyage of Time: The IMAX Experience - (Voyage of Time: Life's Journey) – Song to Song - (The Way of the Wind)

© thevoid99 2020

The House That Jack Built

Written and directed by Lars von Trier from an idea by von Trier and Jenle Hallund, The House That Jack Built is the story of the life of a serial killer in the course of 12 years as he kills various people from the 1970s to the 1980s in the state of Washington. The film is a psychological horror film that explores a man’s love of killing people through five moments in his life as he sees his killings as works of art as the titular character is portrayed by Matt Dillon. Also starring Bruno Ganz, Uma Thurman, Riley Keough, Siobhan Fallon Hogan, Sofie Grabol, and Jeremy Davies. The House That Jack Built is a discomforting yet intense film from Lars von Trier.

Set in the 1970s and 1980s in the state of Washington through five events and an epilogue, the film is the simple story of the life of a failed architect who becomes a serial killer as he would kill a lot of people during the course of his life. It’s a film that explores a man’s life through the people he killed with many of the victims being women as he would talk about his exploits to another man off screen as well as view his murders as art. Lars von Trier’s screenplay is told through five chapters as it relates to life of its titular character (Matt Dillon) as he would have these off-screen conversations with a man named Verge (Bruno Ganz) such as the first time he killed someone to how his murders would get more sophisticated during the years as he becomes less compulsive and more refined. It also showcases his growing sense of disdain towards aspects of humanity as well as seeing his killings as works of art where he is determined to be more artistic. Yet, he would also cope in trying to create a house for himself as another form of artistic expression.

The direction of von Trier is stylish in its approach to telling a man’s life story yet it draws upon many ideas of artistry with inter-cut images of stock footage and such to play into Jack’s psyche and pursuit of artistic glory. Shot on various locations in Sweden and parts of Denmark including Copenhagen, the film does play into this small town world where Jack drives a shiny red-colored van as von Trier would shoot much of the film on different formats with much of the narrative presented in the 2:39:1 aspect ratio with some stock footage shot in the 1:37:1 full-frame aspect ratio. Much of von Trier’s usage of close-ups and medium shots are presented with hand-held cameras to get a sense into Jack’s own emotions as well as those he terrorizes during the course of the film. There are some wide shots as a few of them pay homage to Carl Theodor Dreyer’s film Master of the House in a sequence where Jack carries a body to his home in a darkly-comical speedy presentation. The direction also has von Trier borrow images from not just various pieces of art including footage from shorts and such along with von Trier’s own films but also paintings, sculptures, and designs of houses, churches, and other places to play into Jack’s fascination with art.

Even as it play into Jack’s obsession in creating the perfect house with the best materials he can find as his frustrations for perfection only fuels his desire to kill. The violence in the film is emphasized more on impact rather than gore and anything outrageous as von Trier shows these acts of violence to play into Jack’s obsession with its culture and how much control he can bring while becoming more sadistic in his pursuit of artistic triumphs. The film’s final incident and its epilogue play into Jack’s obsession as well as this individual he had been talking to throughout the film off-screen in Verge. The final incident would also reveal a room that Jack had been trying to get into in the ice locker he owned where he would store many of his victims as it would play into Jack’s desire of his own dream house but also a chilling epilogue that is more about Jack’s fate and the decision he makes as a man. Overall, von Trier creates a disturbing yet evocative film about the life of a serial killer and his pursuit of artistic glory.

Cinematographer Manuel Alberto Claro does brilliant work with the film’s cinematography as its usage of colors and low-key lights for scenes at the night and in some of the interior scenes add to the stark visual tone of the film. Editors Molly Malene Stensgaard and Jacob Secher Schulsinger do excellent work with the editing with its usage of jump-cuts, montages, and other stylish cuts to play into Jack’s journey. Production designer Simone Grau Roney and art director Cecilia Hellner do fantastic work with the apartment that Jack lives in as well as the ice house that he owns with boxes of frozen pizzas where he would store the body while von Trier would serve as art director for the film’s final scene. Costume designer Manon Rasmussen does nice work with the costumes as it is largely straightforward in what Jack wears with the exception of a red bathrobe he would wear late in the film.

Prosthetics makeup effects designer Love Larson does terrific work with the look of the corpses that Jack has collected in his storage ice room. Visual effects supervisors Pierre Buffin and Peter Hjorth do amazing work with the visual effects for some sequences during the epilogue that includes recreations of a few paintings. Sound designer Kristian Eidnes Andersen does superb work with the sound where it emphasizes on natural elements and sparse textures to play into the realism of the film. The film’s music by Victor Reyes is wonderful for its low-key approach to ambient music which is only used sparingly for its climatic epilogue while music supervisor Mikkel Maltha provide a music soundtrack that adds a lot of punch to Jack’s journey from classical pieces by Johann Sebastian Bach, Antonio Vivaldi, and Richard Wagner as a Bach piece is performed by Glenn Gould with the rest of the soundtrack features Louis Armstrong’s rendition of St. James Infirmary Blues, a cover of Ray Charles’ Hit the Road Jack by David Johansen in his Buster Poindexter persona, and David Bowie’s Fame.

The casting by Des Hamilton, Avy Kaufman, and Lara Manwaring is marvelous as it feature some notable small roles from Osy Ikhile as a victim of Jack’s late in the film, David Bailie as a friend of Jack’s in S.P., Jeremy Davies as an ammunitions salesman in Al, Jack McKenzie as a blacksmith in Sonny, Emil Tholstrup as a young Jack, Marijana Jankovic and Carina Skenhede as a couple of victims of Jack’s, Rocco and Cohen Day in their respective roles as the boys Grumpy and George, and Edward Spleers as a policeman during the film’s second incident. In the performances of some of the women that Jack would encounter, Uma Thurman as the annoying hitchhiking lady, Siobhan Fallon Hogan as a widowed neighbor, Sofie Grabol as a mother of two boys, and Riley Keough as a young girlfriend of Jack’s in Simple are excellent in their roles as the women in Jack’s life who would play into his evolution as a serial killer and his growing fascination in being an artist.

Bruno Ganz is phenomenal as Verge as this mysterious man who appears off-screen for much of the film as he converses with Jack about his killings and such where he is appalled by his actions but also intrigued as his appearance in the film’s final moments reveal something much bigger as someone who observes all of Jack’s exploits. Finally, there’s Matt Dillon in an incredible performance as the titular character as this architect whose desire to create a home for himself is troubled by his desire for perfection as his frustrations with humanity leads him to killing people where he sees it as an expression of art where Dillon displays some charm but also a manic energy into his role as it is a career-defining performance for Dillon.

The House That Jack Built is a spectacular film from Lars von Trier that features a sensational performance from Matt Dillon. Along with its ensemble cast that includes a great supporting performance from Bruno Ganz as well as its ravishing visuals, offbeat music soundtrack, and study of humanity, murder, and art. It’s a film that is definitely not for the faint of heart as it shows von Trier at his most carnal but also with a level of restraint into the acts of violence as well as studying the mind of a man who kills for the pleasure of it as well as to fill the void of his own artistic satisfaction. In the end, The House That Jack Built is a tremendous film from Lars von Trier.

Lars von Trier Films: The Element of Crime - Epidemic - Medea (1988 TV film) - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2: Idioterne - Dancer in the Dark - Dogville - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The Kingdom: Exodus - (Etudes)

Related: Favorite Films #3: Breaking the Waves - The Auteurs #7: Lars von Trier

© thevoid99 2019

The American Friend

Based on the novel Ripley’s Game by Patricia Highsmith, Der amerikanische Freund (The American Friend) is the story of a con artist who convinces an ailing picture framer to take part in an assassination scheme. Written for the screen and directed by Wim Wenders, the film is an unusual noir film that play into a battle of wits that would eventually form into an unlikely friendship. Starring Dennis Hopper, Bruno Ganz, Lisa Kreuzer, and Gerard Blain. Der amerikanische Freund is a riveting and intoxicating film from Wim Wenders.

The film revolves around an American con artist, whose work in art forgeries, has him traveling to Hamburg where he meets a dying picture framer who he believes can carry an assassination job for another man. It’s a film that plays into a man who is trying to create a scheme about an assassination he wants to take place with another man as he feels slighted by this picture framer he met at an auction. Wim Wenders’ screenplay follows the world that Tom Ripley (Dennis Hopper) is in where he cons people into buying paintings for lots of money when they’re actually forgeries as he goes to Hamburg from New York City to sell a forgery where the picture framer Jonathan Zimmerman (Bruno Ganz) notices the painting is a forgery that people are over-paying for. Zimmerman knows who Ripley is as he refuses to shake his hand prompting Ripley to turn to a fellow criminal in Raoul Minot (Gerard Blain) to use Zimmerman as an assassin for a rival that Minot wants dead.

For Zimmerman who is dying from leukemia and is health is failing, he would receive news that his health is worsening where Minot approaches him about doing a job and would get certain health benefits and money in return. Yet, his wife Marianne (Lisa Kreuzer) is suspicious about Zimmerman’s trips to Paris and Munich as the story progresses with the former having him going to a hospital where they would send Marianne false medical notes which Zimmerman had no clue about thinking he would be fine. Upon the job that Minot would have Zimmerman do, it does give Zimmerman a sense of life although things become more complicated when Minot wants Zimmerman to do another job without Ripley’s knowledge who is becoming fond of Zimmerman.

Wenders’ direction does bear some visual style reminiscent of suspense and film noir yet much of what he does is straightforward. Shot mainly in Hamburg, Germany with additional locations in Munich, Paris, and New York City, Wenders would play into a world that is vast as it relates to the kind of operation that Ripley is involved as he lives mainly in New York City but went to Germany for business knowing he can make serious money through forged paintings made by his friend Derwatt (Nicholas Ray). Wenders’ direction definitely emphasizes some simple compositions in his approach to the framing where he does use close-ups and medium shots to play into the interaction between characters as well as the scenes at the metro in Paris where Zimmerman is going after his target as it’s dialogue-free in order to play up the suspense. Even in the way Wenders would move the camera to see Zimmerman and his target move from one metro train to another as well as the sense of geography in the metro stations with some wide shots to get an idea of where Zimmerman can kill this man though there’s cameras at the station that can see what is going on.

Wenders’ direction also maintains that intrigue into what is happening with the suspense as well as Ripley’s visits to Zimmerman’s shop as the former wants the latter to create a picture frame for one of the forgeries. Even as it play into a growing friendship between Ripley and Zimmerman as the former is aware of the latter’s illness and wants to help him as he would be involved in this second assassination that Zimmerman is supposed to carry out. The film’s third act has Wenders take great advantage of the locations and its scope where it does play into a friendship that is growing but also revelations about Zimmerman’s ailing health and Ripley’s own involvement into these assassinations prompting the latter to take control as well as to try and make things right for Zimmerman and his family. Overall, Wenders craft a gripping yet somber film about an American con artist who gets an ailing German picture framer to carry out an assassination.

Cinematographer Robby Muller does brilliant work with the film’s colorful and ravishing cinematography as its usage of natural lighting for some of the daytime exterior scenes as well as available and stylish light for some of the interiors including the scenes at night. Editor Peter Przygodda does excellent work with the editing as it has elements of jump-cuts while mainly aiming for a straightforward approach with the rhythmic cuts to play into the suspenseful moments of the film. Art directors Heidi and Toni Ludi do fantastic work with the look of Ripley’s home as it has appliances that are covered while Zimmerman’s home doesn’t have much space though his son’s bedroom is full of cool toys and appliances.

Costume designer Isolde Nist does terrific work with the costumes from the denim-like look of Ripley with his cowboy hat to the more casual and reserved look of Zimmerman. Sound mixers Milan Bor, Max Galinsky, and Martin Muller do superb work with the sound in the way trains and ships sound from outside a building as well as what goes on inside the metro stations that help play into the suspenseful moments of the assassination sequence. The film’s music by Jurgen Knieper is incredible for its mixture of piano and strings that help play into the drama with its lush string arrangements that also add to the film’s suspense while its soundtrack features mainly music from the Kinks that is played in parts of the film.

The film’s wonderful cast feature some notable small roles from Andreas Dedecke as Jonathan and Marianne’s son Daniel, Sandy Whitelaw as a doctor trying to help Zimmerman, filmmakers Samuel Fuller and Jean Eustache in their respective cameo roles as an American gangster and a friendly man on the train, Lou Castel as Minot’s associate Rodolphe who makes sure Zimmerman does the job, and filmmaker Nicholas Ray in a small yet terrific performance as Ripley’s paint forger named Derwatt. Gerard Blain is fantastic as the French gangster Raoul Minot as a man that wants Ripley to kill a rival gangster only to turn to Zimmerman for the job and later trying to get Zimmerman to do more of his dirty work.

Lisa Kreuzer is brilliant as Zimmerman’s wife Marianne as a woman that is trying to understand where her husband is going believing something isn’t right upon getting messages from his doctor while is also suspicious about Ripley. Bruno Ganz is incredible as Jonathan Zimmerman as a picture framer who used to make forged paintings that is dealing with leukemia as he’s trying to cope with his illness as well as what he’s being forced to do where it’s a low-key yet somber performance that has Ganz sing a lot of British Invasion songs to deal with his situation. Finally, there’s Dennis Hopper in a phenomenal performance as Tom Ripley as this con man trying to get Zimmerman to kill as revenge for slighting him only to become fond of him as he later tries to help him as it’s an offbeat yet charismatic performance from Hopper.

Der amerikanische Freund is a sensational film from Wim Wenders that features great performances from Dennis Hopper and Bruno Ganz. Along with its ensemble cast, Robby Muller’s gorgeous photography, its study of manipulation and redemption, and its beautiful music score. It’s a film that doesn’t play with the conventions of suspense in order to study the motivations of two men who are connected by carrying out an assassination only to try to connect through the simple ideas of life. In the end, Der amerikanische Freund is a spectacular film from Wim Wenders.

Related: Purple Noon

Wim Wenders Films: (Summer in the City) - (The Goalkeeper’s Fear of the Penalty) - (The Scarlet Letter (1973 film)) - Alice in the Cities - Wrong Move - Kings of the Road - (Lightning Over Water) - (Room 666) - (Hammett) - (The State of Things) – Paris, Texas - (Tokyo-Ga) – Wings of Desire - (Notebook on Cities and Clothes) – Until the End of the World - (Faraway, So Close!) - (Lisbon Story) - (Beyond the Clouds) - (A Trick of Light) - (The End of Violence) - (Buena Vista Social Club) - (The Million Dollar Hotel) - (The Soul of a Man) - (Land of Plenty) - (Don’t Come Knocking) - (The Palermo Shooting) - (Pina) - Salt of the Earth - (Every Thing Will Be Fine) – (The Beautiful Days of Aranjuez) – (Submergence) – (Pope Francis: A Man of His Word)

© thevoid99 2018

Downfall (2004 film)

Based on the books Inside Hitler’s Bunker by Joachim Fest and Until the Final Hour by Traudl Junge and Melissa Muller, Der Untergang (Downfall) is the story of the final ten days of Adolf Hitler as he struggles to survive while hiding in his bunker with officers, close friends, and various others. Directed by Oliver Hirschbiegel and screenplay by Bernd Eichinger, the film follows these final ten days as it is told from the perspective of Hitler’s personal secretary in Traudl Junge who is played by Alexandra Maria Lara with Bruno Ganz in the role of Adolf Hitler. Also starring Corrina Harfouch, Ulrich Matthes, Juliane Kohler, Heino Ferch, Christian Berkel, Matthias Habich, and Thomas Krestchmann. Der Untergang is a riveting and chilling film from Oliver Hirschbiegel.

The film explores the final days in the life of Adolf Hitler who is hiding in his bunker in Berlin hoping for a way to push the Russians back and continue to pursue a future for Germany. Yet, he would endure news about betrayals, setbacks, and other things that would force him to come to terms that his future plans for Germany might not happen after all where those closest to him including his personal secretary Traudl Junge wonder what will happen. Bernd Eichinger’s screenplay opens with Junge’s first meeting with Hitler in late 1942 at a secret bunker in East Prussia where she is among the slew of women answering a job interview to be his personal secretary. There, she sees a kindness and patience in Hitler where it is surprising and then the film’s narrative shifts to late April of 1945 in Berlin where the Germans are being surrounded by the Russians. Much of the film’s narrative revolve around what is happening at Hitler’s bunker and the number of generals and officials dealing with dwindling forces and growing casualties.

The first act is set in the bunker and the government building nearby where everyone is trying to figure out what to do while Hitler’s longtime partner Eva Braun (Juliane Kohler) tries to raise up morale at one point in having a party to celebrate Hitler’s birthday. The first act would end when Hitler realizes the severity of his situation when his forces are unable to stop the Russians from coming where he just couldn’t believe that all hope is lost. Eichinger’s script doesn’t just follow Hitler coping with this impending sense of loss and anger but also showing sides of him that do showcase a sense of humanity in someone that was a monster. Even in how he would have his pet German Shepard eat a cyanide capsule rather than shooting it as well as scenes where he converses with Junge about his plans for the future and for Germany which he realizes will never happen.

During the course of the film, the number of politicians and military officers would betray Hitler thinking he’s lost his mind while some of them are trying to instill their own rule as it angers Hitler who becomes aware of how powerless he is. The film’s third act isn’t just about Hitler’s final day but also the aftermath as it relates to loyalty as well as the few individuals who cope with the end that includes a member of Hitler’s Youth club. Notably as it has Junge trying to get out of the chaos so that she can survive as would others who aren’t military personnel or members of the Nazi party. The third act also play into the idea of surrender with those preferring to end their lives rather than surrender to the Russians and others wanting to live and fight the Russians with some in the middle unsure of what to do.

Oliver Hirschbiegel’s direction opens and ends with footage from the 2002 documentary Im toten Winkel (Blind Spot: Hitler’s Secretary) by Andre Heller and Othmar Schmiderer about Junge who talks about her past as it would play into the life of this woman who would become Hitler’s personal secretary. Shot on various locations in Berlin, Munich, and St. Petersburg, Russia, the film is largely set into an area where it’s falling apart as there aren’t many wide shots in the film except for the many scenes outside of the bunker where a lot of violence is happening as well as people trying to flee Berlin from the Russians who are shooting artillery from afar. Much of Hirschbiegel’s direction takes place in the bunker with some scenes at a palace hall or other building for some parties as it is shot largely with hand-held cameras where characters run through the halls of the bunker. The scene where Hitler receives the bad news about his forces, a legendary scene that inspired many Internet parodies, is intense with its close-ups and medium shots in displaying the anger and hopelessness that Hitler is dealing with.

Hirschbiegel would also maintain this sense of claustrophobia inside the bunkers where everyone is feeling trapped and the need to go outside is very risky where the moments of peace is too brief. Even as there’s stories outside relating to those trying to fight off against the Russians while there’s scenes where there are individuals whose loyalty are being questioned as they’re not in the bunker. Hirschbiegel would slowly build up this air of doom that is coming as it relates to what will happen and its aftermath is filled with a lot more uncertainty. Even as the direction would loosen up to the point that it gets out of the bunker and in other places as well as areas outside of the bunker as it play into the fall of Nazi Germany from the eyes of the woman who had been one of Hitler’s closest allies. Overall, Hirschbiegel creates an entrancing yet eerie film about the final days of Adolf Hitler.

Cinematographer Rainer Klausmann does brilliant work with the film’s cinematography as it feature elements of natural lighting for some of the scenes in the daytime while emphasizing on low-key lights and moods for many of the scenes at the bunker. Editor Hans Funck does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the heavier moments in the drama. Production designer Bernd Lepel does amazing work with the interiors of the bunker as well as some of the places around the bunker including the rooms where a few of the officers would live in. Costume designer Claudia Bobsin does fantastic work with the costumes from the uniforms of the officers to the stylish dresses that the women wore in those times. Visual effects supervisor Thomas Zauner does terrific work with the visual effects as it is mainly bits of set dressing for many of the exteriors in the film. Sound designers Stefan Buch and Nico Krebs do superb work with the sound as it play into the atmosphere of war with sounds of artillery shells flying or alarms as it help create this sense of unease in the film. The film’s music by Stephan Zacharias is wonderful for its low-key orchestral score with elements of bombastic arrangements and somber themes to play into the drama.

The casting by An Dorthe Braker is incredible as it feature some notable small roles from Bettina Redlich as Hitler’s cook Constanze Manzilary, Ulrich Noethen as the smarmy Nazi party leader Heinrich Himmeler whom Hitler doesn’t like, Rolf Kanies as General Hans Krebs, Justus von Dohnanyi as Hitler’s chief adjutant General Wilhelm Burgdorf, Christian Hoening as Hitler’s physician Ernst-Robert Grawitz, Thorsten Krohn as Dr. Ludwig Stumpfhegger, and Gotz Otto as the SS officer Otto Gunsche who would watch over the burning of the bodies of Hitler and Braun. Birgit Minichmayr is terrific as one of Hitler’s secretaries Gerda Christian while Christian Berkel is superb as the SS doctor/physician Dr. Ernst-Gunther Schenck as a man trying to save the wounded and ailing whether they’re soldiers or regular people. Heino Ferch is excellent as Hitler’s chief architect Albert Speer who makes a brief visit to the bunker to talk to Hitler and Braun where he tries to raise their morale but also realizes what is coming. Thomas Krestchmann is fantastic as the SS officer Hermann Fegelein as a man that is Eva Braun’s brother-in-law who has been accused of desertion while not carrying out orders for Hitler.

Juliane Kohler is wonderful as Eva Braun as Hitler’s longtime lover who tries to raise morale at the bunker only to face the reality of what is about to happen. Corrina Harfouch is brilliant as Magda Goebbels as the wife of Joseph Goebbels who is loyal to Hitler as she is touched by a present he gives her as she faces the fact of what is to come. Ulrich Matthes is amazing as Joseph Goebbels as Hitler's propaganda official and right-hand man who also deals with the fall of Nazi Germany and what will happen to Hitler as he tries to maintain a dignity as well as make some decisions with his wife about the future of their children. Alexandra Maria Lara is remarkable as Traudl Junge as Hitler’s personal secretary who is trying to understand what is going on as well as ponder if she should survive as well as be Hitler’s most trusted person as she is willing to help him prepare for his impending death. Finally, there’s Bruno Ganz in a phenomenal performance as Adolf Hitler as the monstrous Nazi leader who does display a sensitivity and kindness to people who are loyal to him as well as show a frustration and anger when things don’t go his way where Ganz gives the performance of a lifetime in displaying a sense of humanity in one of the most evil figures of the 20th Century.

Der Untergang is a tremendous film from Oliver Hirschbiegel that features great performances from Bruno Ganz and Alexandra Maria Lara. It’s a film that explores a moment in time that shows one of the most vile figures of the 20th Century face his own doom with the people who are close to him watching it all happen. Especially as it showcases what was happening as it is told from someone who was there and managed to cope with her role in history. In the end, Der Untergang is a spectacular film from Oliver Hirschbiegel.

Oliver Hirschbiegel Films: (Das Experiment) – (The Invasion (2007 film)) – (Five Minutes of Heaven) – (Diana (2013 film)) – (13 Minutes)

© thevoid99 2018

2013 Cannes Marathon: Wings of Desire

(Winner of the Best Director Prize for Wim Wenders at the 1987 Cannes Film Festival)

Directed by Wim Wenders and written by Wenders and Peter Handke with additional contributions from Richard Reitinger, Wings of Desire is the story about a group of invisible angels looking over Berlin as they hear the thoughts and prayers of the people they around them as one of them falls for a trapeze artist as he decides to become human. The film is an exploration into the world of faith as well as an angel’s desire to do all of the things humanity is doing. Starring Bruno Ganz, Solveig Dommartin, Otto Sander, Curt Bois, and Peter Falk as himself. Wings of Desire is a rich and exhilarating film from Wim Wenders.

The film is this very simple story about a group of angels watching over the city of West Berlin as they hear the thoughts and hopes of humanity. One of them in Damiel (Bruno Ganz) falls in love with a French trapeze artist in Marion (Solveig Dommartin) who is dealing with the abrupt closing of the circus she’s working for. Damiel’s desire to become human is one aspect of the story though it mostly follows him and his fellow angel Cassiel (Otto Sander) as they wander around Berlin to hear the people and comfort them in time of need. Meanwhile, Peter Falk is in Berlin working on a film as he wanders around the city thinking about its past as does an aging poet (Curt Bois) who Cassiel follows around. It’s all set in a crucial period just before the fall of the Berlin Wall as the angels are observing everything around them while there’s some temptation to experience humanity.

The screenplay by Wim Wenders and Peter Handke doesn’t play into a traditional structure as it’s all very loose where it is about two different worlds that come into play. One is the world that the humans are living as they’re going through all sorts of things while the other are the angels as they are often around the humans to see what is happening. Some are just doing well while others are struggling as the angels even get a chance to glimpse into the memories of a few who are still reeling from the aftermath of World War II. While Damiel and Cassiel are observing all of the people in Berlin, they know that they aren’t seen except from the children of the city. Around Peter Falk, he can sense their presence though he doesn’t see them as he tries to converse with them though he knows he can’t touch them. It’s among the many encounters that intrigues the two angels where Damiel’s infatuation towards Marion has him wanting to become human.

Though Cassiel understands why Damiel would want to do this, he is afraid of the consequences of what Damiel might experience as the film’s third act is about Damiel becoming human in the middle of no man’s land between the east and west sections of Berlin. For Damiel, it is about the experience of being human where he sees color for the very first time and experience such things as taste and smell where there is this air of innocence but also uncertainty. Still, there are those that come to play who will guide Damiel into finding what he needs.

Wenders’ direction is evocative in the way he presents a world that is changing just before the fall of the Berlin Wall as everything is happening as usual. From the perspective of the angels, Wenders gives them a very dream-like perspective as it’s shot largely in a monochrome black-and-white style where they are observers as they would often move around while humans are either still or just oblivious to their presence with the exception of the children and Peter Falk. Some of the shots that Wenders creates often have the camera looking down or just gazing from the air where the angels often place themselves at the Victory Column statue. The direction also has an air of style where there are brief moments where the film is shown in color whenever the angels aren’t at the presence of a major character or through stock footage of the aftermath of World War II.

The scenes shot in color are quite straightforward, especially in the third act where there is this great mix of the two palettes for the scene of Damiel’s transformation to become human in the middle of no man’s land in the Berlin Wall. The city of Berlin is a character in the film as Wenders makes it into a place that is going through some major changes though they’re unaware of what is going to be ahead of them in the next few years. Even as Wenders shoots a couple of concert scenes that feature performances from Crime & the City Solution and Nick Cave & the Bad Seeds that would play major importance to the development of the story. Overall, Wenders creates a very mesmerizing and powerful film about the experience to be alive in the world.

Cinematographer Henri Alekan does brilliant work with the film‘s very stylized monochrome black-and-white style to capture the world of the angels as they are on Earth watching humanity play itself out while using some gorgeous colors for the scenes of humans venturing around the city without the presence of the angels. Editor Peter Przygodda does excellent work with the stylized editing with its use of dissolves and rhythmic cuts to play out the sense of reality and the world that the angels live in as well as the scenes of Damiel soaking in his first experience as a human being. Art director Heidi Ludi and set decorator Esther Waltz do amazing work with some of the set pieces from the set where Peter Falk is working at to the recreation of the Victory Column statue for its close-ups.

Costume designer Monika Jacobs does nice work with the costumes from the more reserved clothes of the angels to the stylish clothes of Marion. Sound mixers Axel Arft and Jean-Paul Mugel do fantastic work with the sound from the layer of the voice-overs where the angels hear the thoughts of the people to the scenes on location to display a world that is changing. The film’s music by Jurgen Knieper is wonderful as it is mainly an orchestral-based score filled with soaring arrangements and some circus music as the soundtrack includes cuts from Nick Cave & the Bad Seeds, Crime & the City Solution, Laurie Anderson, and other classical pieces.

The film’s cast is superb as it is mostly filled with various people in many small roles though it really comes down to the five principle characters in the film that includes Curt Bois as an aging poet who feels lost in the world as he’s looking for Potsdamer Platz while Peter Falk is great as himself as a man observing his surroundings while trying to be part of the world that is Berlin. Solveig Dommartin is amazing as the trapeze artist Marion who is trying to deal with the loss of her art as she is struggling to find something in Berlin. Otto Sander is excellent as Cassiel as an angel who is playing his role as the observer while struggling with wanting to help those in need. Finally, there’s Bruno Ganz in a marvelous performance as Damiel as an angel who is intrigued by humanity as he falls for Marion as he is eager to experience humanity as Ganz brings a lot of heart into the role once his character becomes human.

Wings of Desire is an outstanding film from Win Wenders that features a brilliant ensemble cast as well as very captivating themes on humanity and the idea to be alive. It is definitely one of Wenders’ great achievements as well as a very engaging piece about being human as it’s told from the perspective of angels who are eager to comfort humanity in trying times. In the end, Wings of Desire is a phenomenal film from Wim Wenders.

Wim Wenders Films: (Summer in the City) - (The Goalkeeper’s Fear of the Penalty) - (The Scarlet Letter (1973 film)) - Alice in the Cities - Wrong Move - Kings of the Road - The American Friend - (Lightning Over Water) - (Room 666) - (Hammett) - (The State of Things) - Paris, Texas - (Tokyo-Ga) - (Notebook on Cities and Clothes) - Until the End of the World - (Faraway, So Close!) - (Lisbon Story) - (Beyond the Clouds) - (A Trick of Light) - (The End of Violence) - (Buena Vista Social Club) - (The Million Dollar Hotel) - (The Soul of a Man) - (Land of Plenty) - (Don’t Come Knocking) - (The Palermo Shooting) - (Pina) - (Every Thing Will Be Fine) - The Salt of the Earth - (Submergence) - (Pope Francis: A Man of His Word)

© thevoid99 2013

Nosferatu, the Vampyre

Originally Written and Posted at Epinions.com 1/4/07 w/ Additional Edits

Based on Bram Stoker's story of Count Dracula, Nosferatu, Phantom der Nacht (Nosferatu, the Vampyre) is the story how a man came to Transylvania to meet with the mysterious Count Dracula only to capture him and claim the man's wife. Written for the screen and directed by Werner Herzog, the film is a remake of sorts of F.W. Murnau's 1922 version that was famously played by Max Schrek. For this version, the film stars Klaus Kinski in the title role marking their second collaboration between Herzog and Kinski. Also starring Isabelle Adjani, Bruno Ganz, and Walter Ladengast. Nosferatu is a fascinating, haunting remake from Werner Herzog and its star Klaus Kinski.

In the small German town of Wismar in 1850, real estate agent Jonathan Harker (Bruno Ganz) is asked to close a deal for a home that is bought by a mysterious man named Dracula. Going to the Carpathian Mountains under the order of his eccentric boss Renfield (Roland Topor), Harker says goodbye to his wife Lucy (Isabelle Adjani) who thinks the trip is a bad idea. Still, Harker goes on the four-week trek from Wismar to Romania as a stop at a small Romanian town has him encountering gypsies who believe that the castle is cursed. Still, Harker continues his journey as he rides a mysterious carriage to the castle where he meets the reclusive Dracula. After a tense meeting over the business deal, Harker is irked by Dracula's dark presence as her never sees him in the daylight as her later becomes ill. After Dracula sees Harker's locket that carries a picture of Lucy, Harker's illness intensify where he's trapped in Dracula's castle while learning of his true identity.

Dracula flees via a small group of caskets shipped to Germany as Harker makes an escape where Dracula eventually arrives to Wismar. There, Lucy's paranoia over Jonathan gets the attention of a doctor named Van Helsing (Walter Landengast) who think she's ill from a fever. The ship that carries caskets as it arrives with a dead crew and rats as Van Helsing believes there's a plague happening. Dracula finally emerges as he meets with Renfield to have him give out orders while the ailing Jonathan finally arrives at Wismar. Dracula meets Lucy as he wants her love as she refuses as he leaves to try and win her again. With the plague intensifying and Jonathan's illness increasing, Lucy reads Jonathan's diary to discover what is happening as she waits for Dracula to arrive.

While Herzog's adaptation of Dracula isn't the most faithful version of the story he switches the main heroine of Mina to a supporting character with Lucy being the Mina role. Still, the film is clearly more of a remake of the original Murnau film as Herzog again goes for the conflict of man vs. environment. This time around, the dark environment are in Transylvania as Jonathan enters the dark world where he nearly dies. The second is in Wismar where at night, Dracula seems to take an advantage only right till the end. Herzog's script and wandering direction really brings a strong yet entrancing approach to the story of Dracula where he's given a different portrayal than the ones several years ago. Plus, given to Herzog's views of nature. He definitely goes for nature vs. man but this time around, it's Dracula who controls nature to send a plague on humanity. While the film is merely a stylized account of the story of Dracula, it's done with a lot of intelligence mixed with entertainment that it's still a strong film from Herzog.

Helping Herzog in his presentation is cinematographer Jorg Schmidt-Reitwein whose work in the shades, shadows, and lighting set-ups are exquisitely amazing to convey the dark atmosphere of the night in Transylvania and Wismar. Editor Beate Mainka-Jellinghaus does excellent work in bringing a stylized, rhythmic approach to the editing to convey the suspense and momentum of the film. Art director Henning von Gierke does an amazing job in creating the decaying, ominous look of Transylvania as well as that eerie clock of Dracula's. Costume designer Gisela Storch does great work in creating the 19th-Century costumes while making a great, black cloak for Kinski that is wonderful. Makeup artists Dominique Colladant and Reiko Kruk do great work in creating the look of Kinski's Dracula with its ears and teeth. Sound recordist Harold Maury also does excellent with the film's atmosphere. The German group Popol Vuh and its leader Florian Fricke brings a haunting score filled with an ominous choir to convey the sense of horror as well as a dreamy, folky track for the film's early, romantic sequences. The rest of the soundtrack includes an operatic track from Charles Gounod and the sweeping Das Rheingold from Richard Wagner.

The film's cast includes some notable small performances from Jan Groth as a harbormaster, Cartsen Bodinus as Schrader, and Martje Grohmann as Mina. Roland Topor is hilarious and creepy as Renfield with his irritating cackle and wide-eyed face. Walter Ladengast is excellent as Van Helsing with his restrained, weary presence as a man who tries to understand what's going on only to realize that he might be the one to stop everything. Bruno Ganz is great as Jonathan Harker with his cautious performance as a man who is unaware of the atmosphere he's in and tries desperately to save his wife only to find himself ill. Though she doesn't have much to do, Isabelle Adjani is amazing as the paranoid, scared Lucy Harker as it's her face that does a lot of the acting and Adjani's minimalist performance is great as she has some great scenes with Kinski. Finally, Klaus Kinski is brilliant in the film's title role as Dracula. Kinski's performance is very restrained yet he brings a lot of depth to the character where he lets his face bring a lot of horror while adding a range of restrained emotions to the role. Again, Kinski owns the film like he did in his previous collaboration with Herzog in Aguirre, der Zorn Gottes.

***Additional DVD Content Written and Posted on 1/30/07***

The Region 1 DVD from the 2000 Anchor Bay Herzog-Kinski box set presents the film in the widescreen format of 1:85:1 ratio for 16x9 TV screens plus 5.1. and 2.0 Dolby Digital Surround Sound in German with English subtitles. The DVD version of the box set is the film's German version which is considered superior to the English version of the film (which is also available, seperately, on DVD). The special features include two U.S. trailers (one with voiceover), a Spanish trailer, the talent bios of Herzog and Kinski, and a 13-minute making-of featurette. The making-of segment is presented by the film's original distributor, 20th Century Fox as Herzog talks in English about Nosferatu where he said the 1922 Murnau version was the greatest film in German history. The making-of reveals the actors performing in English (he also shot them in German, since Herzog, Ganz, and Kinski are German) while directing several sequences in the Delft area of Holland. It's one of the more insightful featurettes into how Herzog works, including his moments with Kinski, while Kinski is shown putting on the makeup of Dracula.

The second special feature is a commentary track from Herzog and Norman Hill. Herzog discusses about wanting to remake Murnau's version but adding new things with some shots in tribute to the original film. He discussed Kinski's notorious behavior which was difficult to handle as well as many of the actors' discomvort in speaking in English for the film's U.S. version given their thick native accents. Herzog discusses with Hill about maintaining an atmosphere for the film where he admitted to having a few problems with the American distributors at 20th Century Fox as well as casting issues since Herzog was using then-unknown European actors. Herzog admits to making compromises for American audiences to the film though he didn't think it was a big deal while giving his own opinion on Francis Ford Coppola's version of Dracula. One enjoyable part of the commentary is Herzog talking about how the rats were shipped from Germany, through Austria and to Holland where he revealed a very funny story about the rats going through custom

***End of DVD Tidbits***

While fans of the Dracula story might be put off by some of the changes in the story, Nosferatu, Phantom der Nacht is still a faithful, atmospheric film from Werner Herzog and its star Klaus Kinski. With a great supporting cast and wandering images, it's still a film that brings elements of horror while staying faithful to the original Murnau film. Fans of Herzog and Kinski will indeed consider this film as one of their great collaborations in the five films they made. In the end, Nosferatu, Phantom der Nacht is an excellent adaptation of the story of Dracula.

Werner Herzog Films: Feature Films: (Signs of Life) - (Even the Dwarfs Started Small) - (Fatana Morgana) - Aguirre, the Wrath of God - (The Enigma of Kasper Hauer) - (Heart of Glass) - Stroszek - Woyzeck - Fitzcarraldo - (Where the Green Ants Dream) - Cobra Verde - (Scream of Stone) - (Lessons of Darkness) - (Invincible (2001 film)) - (The Wild Blue Yonder) - Rescue Dawn - (Bad Lieutenant: Port of Call New Orleans) - (My Son, My Son, What Have Ye Done?) - Queen of the Desert

Documentaries: (The Flying Doctors of East Africa) - (Handicapped Future) - (Land of Silence and Darkness) - (The Great Ecstasy of Woodcarver Steiner) - (How Much Wood Would a Woodchuck Chuck) - (La Soufrière) - (Huie's Sermon) - (God's Angry Man) - (Ballad of the Little Soldier) - (The Dark Glow of the Mountains) - (Wodaabe – Herdsmen of the Sun) - (Echoes from a Somber Empire) - (Jag Mandir) - (Bells from the Deep) - (The Transformation of the World into Music) - (Death for Five Voices) - (Little Dieter Needs to Fly) - My Best Fiend - (Wings of Hope) - (Pilgrimage) - (Ten Thousand Years Older) - (Wheel of Time) - (The White Diamond) - Grizzly Man - Encounters at the End of the World - Cave of Forgotten Dreams - (Into the Abyss) - (On Death Row) - From One Second to the Next

Related: Nosferatu - Nosferatu (2024 film)

© thevoid99 2012