The Lives of Others (Das Leben der Anderen)
reviewed by Misael Soto
While slightly manipulative and sentimental in the vein of Spielberg's Schindler's List or his more recent Munich (a film this reminded me very much of), it's hard to fault such a poignant, enrapturing film. Taking place in East Germany during the years before 1989, The Lives of Others is about one man, a state surveillance expert, who slowly discovers within that he's on the wrong side politically and morally. This loyal employee of the state, Hauptmann G. Wiesler, is put in charge of surveillance of playwright Georg Dreyman and his longtime girlfriend Christa-Maria Sieland as well as Dreyman’s apartment where many of the events of the film take place after the Minister of Culture of East Germany becomes interested in Christa. Wiesler finds the life of the couple fascinating and, ghrough the transformative power of the arts amongst other things, his cold and hardened heart is slowly warmed. A particular scene of sudden emotional power and clarity hitting the audience when Wiesler hears a particular piece of music played by Dreyman on his piano, it’s unadulterated moments like this that are too few and far between in cinema today.
The film pays homage to Coppola's 1974 surveillance filled The Conversation, at times even referring directly to the director’s little known masterpiece via its camera angles. The two films share many similarities including a lead character surveillance expert who goes through sudden transformative events; Ulrich Mühe giving Gene Hackman a run for his money, generating one of the best performances I've seen all year, his Wiesler right up there with such nuanced characters as Gosling’s Dan Dunne (Half Nelson) and DiCaprio’s Danny Archer (Blood Diamond).
The film's main character, while given a name is otherwise known and remembered as HGW XX/7. What he does for others, selflessly and without remorse is what defines him. His name is not important and will most likely be forgotten rather quickly after he's gone. Through the course of the film he becomes what in Yiddish would be called a mensch, someone so selfless and giving that they are rarely seen or heard of, never in want of any recognition of any kind. The transformation is one of subtle brilliance sneaking up on you to the point where it might seem false or contrived but in retrospect make perfect sense, exceeding such a wide range of emotions from the audience. This is of course no doubt due to the airtight screenplay, never wasting a second of celluloid or a single line of dialogue, as well as Ulrich Mühe's astonishing and subtle performance.
The film's final frames are such severely heartbreaking scenes of pure and bittersweet joy; its final freeze frame shot reminded me of Truffaut’s ending shot from his respective debut film The 400 Blows. The two films, in their final seconds, share a very similar closing moment filled with both triumph and tragedy; in The Lives of Others, providing a deeply affecting moment I won’t soon forget.
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