"Downfall" is one of the most astonishing movies I have seen this year. I am a little baffled that it hasn't received more attention in the United States. Bruno Ganz should have gotten an Oscar nomination for best actor. But it did get a nomination for best foreign film. "Downfall" is easily as good and gripping as the renowned hit "Das Boot". It's probably the case that foreign movies don't get as much attention now as they did in the 1980's. Nevertheless, this fine film should have a long life on DVD."Downfall" has caused some controversy because it depicts Adolf Hitler not as a demon, but as a human being who was kind to his young secretaries and his dogs. In fact this makes his evil all the more insidious and monstrous. "Downfall" can be seen as an attempt by Germans to come to terms with their part in Hitler's crimes. How could a not-entirely-bad man like Albert Speer or an innocent like Traudl Junge retain their loyalty and admiration for such a diseased figure? We see the terrible events of April 1945 through German eyes. This involves acknowledging the horrible suffering of the German people as they were bombed and smashed into surrender. (Definitely, however, without letting them off the hook for their moral responsibility for the Holocaust and other crimes against humanity.)
We see Berlin turned into an apocalyptic landscape that would not seem out of place in the Book of Revelation. Gangs of murdering Nazis roam the rubble, looking for final victims to lynch. The Volkssturm, the army of old men and little boys recruited for the last defense of the city, is slaughtered by the advancing Russians. Officials of the regime are committing suicide right and left. (Some historians say there were more suicides among the Germans during the end than among the Japanese.) Down in the fuehrer's bunker Hitler's young secretary Traudl Junge (the wide-eyed, pretty, sweet Alexandra Maria Lara) witnesses the death throes of the Reich. Bruno Ganz is amazing as Hitler. The warm, human angel of "Wings of Desire" is entirely gone, replaced by this occasionally lucid, frequently rabid being. For long stretches of the movie, I swear, I entirely forgot there was an actor working up on the screen and it seemed as if I was watching Hitler himself in all his malignancy.
The movie turns the screws of suspense as things get worse and worse, and you get a solemn sense of justice being done at last. (Although there are still crimes that can be committed, like the diabolical murder of Goebbels' small children by their mother, shown in graphic detail.) The key to the movie perhaps can be had in a little speech by Goebbels. An army General protests the wanton slaughter of civilians and the Volkssturm. Goebbels replies, "I have no sympathy. No sympathy! The German people gave us the mandate. And now you cry because your little throats are being cut." It's a chilling moment. And a sobering reminder that politicians must be held accountable, and the people of a nation have to be responsible in their choice of leaders.
This film is essential for anyone who wishes to understand "the evil that men do" (and women, for example, Frau Goebbels, who killed her children because she did not want them to grow up in a world without National Socialism, Nazism). It is a deep film, based on the historical novel of Joachim Fest, and the stunning documentary "Blind Spot" (Bis Zum Toten Winkel) revealing the thoughts of Hitler's personal secretary, Traudl Humps (married to an SS officer on Hitler's staff who was killed in 1943, she became Traudl Jung), shortly before her death as the millenium turned.
The acting is superb. The best new crop of German actors, as well as Bruno Ganz portraying Der Führer himself, are excellent. Most of the elements that led to the coming of the Holocaust, the Third Reich, and its downfall are cleverly intertwined in this phenomenally staged docudrama. In several viewings, I could find virtually nothing to criticize, down to the china used in the bunker, or so-called Führerbunker, to the attitudes of the many Field Marshalls, who were in many ways as "apolitical" as General Tommy Franks, attitudes of resignation, as suicide as the last honorable gesture, of "doing the right thing."
Such films have to be seen in context. After 60 years of banishment of the swastika (Hakenkreuz in German) in Germany, we see the swastika in its full "glory" throughout the film, the beautiful and attractive uniforms originally designed by Hugo Boss (no kidding). In context, in 2004, Germans were suddenly faced with an extremely well-made film that shows Hitler as nearly human (hiding is Parkinsonian tremor of his left hand behind his back as he presents the Iron Cross, 2nd Class, to Hitler Youth defending Berlin after the declaration of "Clausewitz"--Berlin as a war front. While other officers plead for the evacuation of women and children, Hitler responds that the German people (das Volk) do not deserve to survive, because they have lost this war. National Socialism is revealed as the death culture it was. In other contexts, there are excellend books, articles, and documentaries revealing how willing the German Volk were to turn over all thought, conscience, morality, to the Führer, who encouraged them to do so. Unfortunately, the next 60 years would show that the attitudes of National Socialism did not die with him.
I could individually commend the performances of the many players and people behind the scenes. I have been to Berlin, and this IS Berlin, to any approximation I have seen in photos of the time, and I have been in the last remaining Air Raid shelter (bunker) for the populace and it is no different from this soundstage, save the furniture that was probably taken from Jews years before by the party, which ended up as furnishings in the many homes of the high command and Hitler.
After viewing the film, I do recommend that the viewer take in "Schindler's List" or "The Pianist" to complement it. As we are faced with worldwide conflagration against a non-uniformed enemy of Western culture and democracy, it is hard to think of World War Two as the last of the "civilized" wars, even though it was perhaps the last of uniformed armies facing one another (the Cold War, which never went hot, excluded).
This film does show, through the characters of Traudl Junge and her young friend, the Hitler Youth decorated by Hitler personally, as they walk through the Soviet line on their way back to Bavaria, that the policy of war as a solution to any international dispute is at best fragile. Perhaps that fragility is our best hope for peace.If you want to know how it feels to enter the abyss, then watch this movie. The viewer is crushed by the heartache of the coming end of the Reich, and wonders how any person could emerge from it with a measure of sanity remaining. Civilians trapped in the street fighting; children enduring tank assaults; the constant drumbeat of incoming artillery; and meanwhile against the constant backdrop of the unreality of the Fuhrerbunker, the men and women living in their "wolkenskukushiem."
What is it like to experience total and utter defeat? The world you have known is collapsing around you, and you are totally helpless to stop it.
Watch the face of the actor who plays Brigadefuhrer Mohnke as he hears Göbbels telling him that the German people will have their "little throats" cut. What would go through YOUR mind? Watch as an SS doctor works his way through the bunker, even as men of the Nordland and Charlemagne SS troops (yes... Norwegians and French volunteers fighting the last battle around the Führerbunker) recheck their equipment and load what little ammunition they have left. The shock on Gen. Helmut Weidling's face, the commander of the famed 56th PanzerKorps, as he is told that HE's now the commandant of Berlin's defenses. The flash of reality that crosses Eva Braun's face when she gives away her mink coat to Traudl Junge, a rare glimpse through the forced happiness she otherwise displayed.
But in the midst of the carnage there is real courage. Forget the politics, forget the Nazis, as you see that there were people who displayed REAL courage in hopeless circumstances... soldiers and civilians fighting hopeless battles through the crumbling streets of Berlin. My mother saw and experienced some of this same anguish in Southern Germany.
But now for the problem-a BIG problem. Soviet atrocities are completely expunged. Even Traudl Junge is shown to have escaped the Russians unscathed... pure fantasy. She was raped by the Soviets numerous times. While SS and Nazi atrocities are shown repeatedly, (guys hanging "defeatists" for example), there is not ONE Russian atrocity displayed. Not one. Thus, despite the fact that the movie is well done and reasonably accurate historically in many areas, it actually strives to rewrite and sanitize history.
Nevertheless, the acting is well done. Ganz does a superb job of humanizing Hitler, which of course makes this movie controversial. Despite the problem above, and my three star rating, the movie is still worth seeing, or even owning. The scenes are riveting and heartrending, and will remind us of the tragedy that became known as the Battle of Berlin. It should also remind us of what happens when people surrender themselves to the power of the State, to let the State run their lives and "care" for them in its brutal maw.
Read Best Reviews of Downfall (2004) Here
Why did this movie not win an Oscar? It goes to show how retarded holywood has become. This is one of the best movies of the last decade.Want Downfall (2004) Discount?
One of the most significant statements of the always reminded master of the cinema, Robert Bresson, was :"To be models; instead of look like actors." I would say that Olivier Hirschbiegel unconsciously followed this wisdom advise. This (Should I just label it film, or perhaps this term be insufficient, why not better to design it supreme artwork?) masterpiece simply surpassed all the eloquent adjectives of previous reviews.The impressive narrative dissection, supported by a sinewy script, is loaded of such burden of mesmerizing, engaging and delirious realism, that literally involves you from start to end. This outstanding work is a true radiograph that explores with merciless crudeness all the insights of the last ten days of Adolf Hitler.
Bruno Ganz followed his bliss and stole that coveted pearl, that justifies the supreme artistic achievement of his lifetime. From the initial shot when the nervous secretaries wait for him, until his last Farewell; his delirious anger accesses, increasing withdrawal of the reality, eloquent grimaces deserves for him (without forget Javier Bardem in Sea Inside) the most towering performance in years.
On the other hand the camera leads us to the struggling and increasingly claustrophobic environment. The camera handle and the fabulous angle shots from the floor accent still more that oppressive atmosphere (Do you remember Orson Welles The Trial?).
The inner tragedy is expressed with vibrant expression. Three expressive sequences are enough to support it: watch for instance the ominous sequence in which Goebbels wife dismisses from her children, the child `s horror at the moment he will have to face the death in its portent in the middle of the flaming wrecks and finally the elusive gaze of Eva Braun in her last supper.
On the other hand, the dialogues are never superfluous. With a visible resources economy, Hirshbiegel built a huge stage that reminds us the true intention of the Greek Tragedy or Wagner in Gotterdamenung, to shake the soul through the catastrophe, is what we experience after we leave the Hall a true cathartic experience.
That superior coherence, the fact of fixing without congealing the feat of communicate expressions without the use of words is what it makes of this artwork a supreme masterpiece.
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