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Berlin Alexanderplatz, based on Alfred Doblin’s novel, is R. W. Fassbinder’s magnum opus. Consequently, it has been a gratifying experience for me to complete this staggeringly ambitious 15 ½ hour epic, albeit over a number of sittings. Evocatively shot and leisurely paced, the movie, made in 13-parts and with an epilogue that delves into the surreal and grotesque recesses of a mad man’s mind, has the power to enthrall you and test your patience in equal measures. It chronicles the turbulent life and times, and the various loves and acquaintances of Franz Bieberkoff, its gullible, good-natured protagonist. Ex-convict Franz (played with incredible passion and power by Gunter Lamprecht), who was incarcerated for 4 years for killing his girlfriend in a fit of rage, decides to lead a straight life upon being released from jail; but life has other plans for him, and it comes a full circle for him when his sweetheart Mieze is killed by the man who he considers a friend – the serpentine and womanizing Reinhold, incidentally the same man who had once pushed him out of a car with tragic consequences. The film comprises of a slew of memorable, well-defined characters (brought through courtesy excellent performances, with my favourites being the melancholic Meck, and the vivacious Eva. However, all said, this does remain a flawed film. The rambling storytelling and the overt philosophizing aside, a lot of the actions of and interactions among the characters defy reason and/or explanation. Nevertheless they are mere footnotes vis-a-vis the grand and sweeping nature of this mammoth, tragic and operatic film.
Director: Rainer Werner Fassbinder
Genre: Drama/Psychological Drama/Political Drama/Romantic Drama
Language: German
Country: Germany
World War II along with its various Nazi-engineered events and future repercussions didn’t just leave an indelible scar on the collective psyche of Germany and the East European countries like Poland, Czech Republic, etc., they continue to haunt them to this date – case in point, the number of films that continue to be made on subject and themes emanating from those dark episodes. This German drama, based on the last few days of the life of Sophie Scholl, an active member of a non-violent underground student-cell called White Rose, who was tried by the Third Reich in a fast-track kangaroo court and executed along with her brother and friend for distributing incendiary and seditious pamphlets in a Berlin university, is another member of the long-list of films mentioned above. Julia Jentsch is superb in the role of the young and fearless eponymous martyr, and so is Alexander Held as her complex, morally indiscernible interrogator. It’s not a perfect or a great film by any measure; but what made it intense and quite gripping even, was, instead of focusing on a whole lot of issues, the director made her iron-willed heroine the sole subject for the film – consequently we got to see in heartbreaking detail her transformations as her death became more and more inevitable.
Director: Marc Rothemund
Genre: Drama/Historical Drama/Political Drama/Biopic/Docu-Drama
Language: German
Country: Germany
To call the acclaimed French filmmaker Oliver Assayas’ Carlos an epic would be an understatement because, its 5 ½ hours length might seem formidable even to those accustomed to watching epic films regularly. The film deals with the rise and fall of the infamous political assassin Carlos who, as we all know, is now languishing in prison. Employing incredible research work, the film has pieced together the life of one of the most enigmatic persons of the last century through terrific storytelling. The director has resorted to cinema-verite, giving the film the feel of a documentary. Thus, by being ripped off of any unnecessary melodrama and by being a fiercely honest portrayal of the man without any ounce of judging him, the film has succeeded in making Carlos seem like a frighteningly real man of flesh and blood. Divided into three parts, this episodic portrayal of the infamous terrorist’s rise through the ranks, his attempts (which often are successful) at some outrageous and spectacular acts of violence, his pop-culture celebrity-hood, his comparative stagnation after being ousted from the Palestinian group he was part of, and finally his slow decline after massive changes took place in the world order post the collapse of Soviet empire. Edgar Ramirez has given a tour-de-force performance as Carlos in this visceral, violent, anarchic and thoroughly outstanding piece of work.
Director: Oliver Assayas
Genre: Drama/Crime Drama/Epic/Biopic/TV Miniseries
Languages: French/German/Arabic
Country: France/Germany
In July is at complete odds with such deadly serious movies like Head-On and The Edge of Heaven that Fatih Akin is renowned for. The only commonality it has with his body of work is where capturing both German and Turkish diaspora and people goes; otherwise, the film seems something of an aberration. A light-hearted, whimsical and charming rom-com and a breezy road movie, it is filled with simple character sketches and idiosyncratic scenarios, is shot in resplendent colours, and is bereft of any socio-political commentary. A shy German teacher (Moritz Blebitreu), convinced that the pretty Turkish girl he has befriended by chance is the girl he’s destined to be with, plunges head long into an adventure road trip that doesn’t just require him to do stuff beyond his wildest imaginations, but also brings him closer to the girl who indirectly kick-started this odyssey of his. And this girl, a good-natured Bohemian lady who’s been holding a candle for him for long, also happens to be, through a stroke of coincidence, his partner in his crazy journey from Hamburg, across Europe, to Istanbul, silently wishing he realizes her feelings for him. Look out for an interesting cameo by the director as a corrupt Romanian border police.
Director: Fatih Akin
Genre: Romantic Comedy/Road Movie
Language: German
Country: Germany
Nowhere in Africa, based on the best-selling autobiographical novel of the same name, is a tale of love lost and found, an epic account of a young girl’s journey from wide-eyed innocence to reluctant maturity, and a reevaluation of the meanings of ‘home’ and ‘roots’. Walter, a farsighted German-Jewish lawyer, who gets inkling about the impending pogroms against Jews, manages to get his beautiful wife Jettel and daughter Regina emigrated to Kenya – a country filled with pristine beauty but culturally and economically at complete odds with their former homeland. Though Jettel initially finds it extremely difficult to adapt to their radically different lifestyle (and later her acceptance of the place occurs parallely with her growing sexual frustrations), Regina gets mesmerized by the place and its people the day she arrives and strikes up an especially touching friendship with their good-natured cook Owuor. Caroline Link, the film’s director, has managed to bring forth the depths and the various emotions at play in her finely-realised, three-dimensional and utterly human characters, through a tone that is filled as much with empathy as with the book’s sad remembrances for those turbulent few years in world history. The movie boasts of captivating photography, and fine performances in front of the camera.
Director: Caroline Link
Genre: Drama/Family Drama/Biopic/Romance
Language: German
Country: Germany
Call Adolf Hitler a genius, a few people will grudgingly agree; call him a twisted genius with the ability to mind-wash people, and a lot more will agree; but try and paint him as a human being, and, as a critic aptly observed, you’re certain to face a lot of backlash. It is nearly impossible to imagine him as a three-dimensional man of flesh and blood, but director Oliver Herschbiegel attempted just that in this audacious feature. The emotion that plays the strongest role in the movie is paranoia, as sociopaths like Goebbels, and well, the Fuhrer too, and their more practical counterparts like Himmler who are aware that the Nazi regime's downfall is imminent, are painted with meticulous detail over the last 10 days of Hitler’s life. The director covered a plethora of characters and events by broadening the movie’s scope, though personally I would have preferred the movie to remain just what it started with – an intimate portrayal of the man who, on one hand, turned Germany into a raging superpower, while on the other, perpetrated such monstrosities that make people shudder even after over 60 years of his joint suicide with his wife/mistress Eva Braun at his bunker. Any personification of Hitler inevitably turns into parody, and here’s where Bruno Ganz has succeeded in his chilling and volcanic recreation of the complex leader of the German war machine and the madman who will go down in history as one of the most hideous villains known to mankind.
Director: Oliver Herschbiegel
Genre: Drama/Historical Drama/Epic/Biopic
Language: German
Country: Germany
Fatih Akin’s The Edge of Heaven is a morally and psychologically complex tale on human nature – the inherent fallibility in human character, and his futile attempts at reconciling with his life and love. Given that Akin is of Turkish origin, but was born and brought up in Germany, political and cultural diasporas of both the countries form the perfect setting for the rich, temporally fractured tale of three sets of unconnected parent-child pairs brought together through subtle interventions of ‘fate’ – a short-tempered hard-drinking Turkish immigrant and his quiet, educated professor-son; a prostitute living on the streets of Hamburg and her anarchist daughter who’s part of a radical political outfit in Turkey; and, a disapproving German lady and her rebellious daughter. Coincidence plays a strong role as the six fiercely independent yet lonely individuals (incidentally or accidentally) embark a tragic collision course through the vicious cycle of love, loss and their various repercussions. Continuing on the theme of death and bereavement, the emotionally charged movie is gritty like Head-On (though certainly not as much), with an elegiac tone that is deeply affecting. The acting, it ought to be mentioned, is very good without ever being flashy or spectacular.
Director: Fatih Akin
Genre: Drama/Psychological Drama/Political Drama/Ensemble Film
Language: Turkish/German
Country: Turkey/Germany
The epithets that might closely define Fatih Akin’s Head-On are, in my opinion, grimy, brooding and bare-assed. Akin completely stripped off any sugar-coatings while displaying human frailties and loneliness at their rawest and most naked – both literally and otherwise. The movie concerns the unlikely emotional connect that develops between two severely self-destructive Turkish immigrants residing in Germany – Cahit, an angst-ridden, hard-drinking 40-something widower living in a state of perpetual disarray, and Sibel, a suicidal young girl whose free, rebellious spirit is at complete odds with her restrictive and conservative family – both roles passionately and fearlessly performed. Despite its content of intense emotions, the movie never plays out as either sentimental or exploitative; rather, it is disturbing, downbeat, provocative and unabashedly erotic. In fact, by using a Turkish folk-song as a motif and to loosely divide the movie into various chapters, it seemed to me structurally quite similar to Lars von Triar’s devastating masterpiece Breaking the Waves. And by mixing punk and grunge rock tracks with exotic Turkish numbers in the score, Akin has managed to be unflinchingly brutal yet surprisingly humane in nearly every frame of the movie.
Director: Fatih Akin
Genre: Drama/Psychological Drama/Romance
Language: German/Turkish
Country: Germany/Turkey
German filmmaker Christian Petzold’s Jerichow is a modern-day variation of James M. Cain’s classic pulp fiction The Postman Always Rings Twice, albeit minus the hardboiled content that gave the source material its iconic status. The movie is about a penniless, laconic war veteran who, through a string of coincidences, gets employed by a reasonably wealthy middle-aged Turkish man (performed with great effectiveness by Hilmi Sozer) married to a bored, philandering, blonde adulteress screaming to get laid. The movie has been pictured without the kind of stylizations or disorienting camera angles that defined film noirs; rather, it is grim in tone and filled with dramatic realism and socio-political insights that belie the genre’s archetypal conventions. Further, even in the movie’s fatalist climax, there is more an element of absurdism than the kind of bleak nihilism that typified classic noirs. The movie is certainly not without its flaws – some of the plot contrivances seem too obvious, and the drifter’s character has not been as well delineated as the other two protagonists, for instance. However, having said that, this deceptively simple fable and revisionist neo-noir does deserve to be paid attention to.
Director: Christian Petzold
Genre: Drama/Neo-Noir
Language: German
Country: Germany
70’s were a decade marked by protests and political unrest throughout the world. But very few cities witnessed the kind of spontaneous and violent uprisings that happened on the streets of Calcutta and West Berlin. Like the Naxalite movement in Calcutta, the one in Berlin, too, had the intoxicating Leftist doctrines of Mao and Che Guevara as its basis, started principally as a student movement against ‘American Imperialism’, rapidly took the form of urban guerrilla warfare, and was met with an iron fist (with police action, at times, being hard to distinguish from those of the 'terrorists'). Der Baader Meinhof Komplex, based on the spectacular rise and fall of the notorious Red Army Faction (RAF), is a detailed and energetic chronicling of this dark time in German history. Though the runtime could have been reduced, especially in the last third of the movie, it hardly matters much thanks to the kinetic screenplay, thumping soundtrack, and for being a colourful and engrossing representation of the zeitgeist of the turbulent times. The volatile Moritz Bleibtreu and the beautiful Martina Gedeck, two of German cinema’s most recognized faces, have given terrific performances as two of the key players of the radical group. The director’s assured depiction of the array of events, without ever taking sides, has made for engaging viewing and a fine historical account, at the same time. And the moral ambiguity in its fatalistic ending has ensured a long after life for the movie.
Director: Uli Edel
Genre: Thriller/Political Thriller/Docu-fiction/Epic
Language: German
Country: Germany
Paris, Texas ranks as the best film by celebrated German filmmaker Wim Wenders, and is often counted among the finest movies ever made. This is a marvelous road movie that delves into spiritual, post-modernist and psycho-analytical issues. The vast American landscape with its neon billboards, long uninterrupted highways and vast uncharted territories has been wonderfully employed to depict human alienation where communication has become a difficult parameter. Right from its lazily captivating opening sequence, where a mysterious looking man without any name or identity is seen wandering about the Texan deserts, the director keeps us enthralled. Soon we come to know that he has been missing for the last four years and has a young son who is being looked after by his thoroughly Americanized brother and his wife. But the reasons for his sudden disappearance are revealed only at the end through the now legendary one-way glass monologue. Like Alice in the Cities, another majestic road movie by Wenders, here too the complex relationship between a disenchanted adult and an exuberant child plays at the forefront of the movie. Harry Dean Stanton, as the melancholic, taciturn and deeply human protagonist Travis, is brilliant in his understated portrayal; and so is the performance of the kid who plays his young son slowly getting to connect with his father. The long, evocative camera shots and the minimalist acoustic guitar riffs play vital roles in presenting a poetic tale of loneliness, lost love and home-coming.
Director: Wim Wenders
Genre: Drama/Road Movie
Language: English
Country: Germany/US
