Martin Luther

The film is the accurate representation of culture being adapted to the modern audience, and this is why it is a must watch for people of all ages. It provides background and historical insights into one of the most pivoting points in the history of religion. However, instead of being a commentated documentary, it is a biographical film about the life of one of the most influential and controversial figures in the history of Christianity. It accurately tells the story of Martin Luther - from the big events like the posting of his Ninety-Five Theses, to simple get-togethers with his ex-colleagues from school. It has a very classical, narrow story line without any plot-twists that are so popular in the cinema culture of today. It tells the story as it is, without over-complicating it; and I find this rather nifty, because Martin Luther's philosophy also focuses on the simplicity of religion. However, in my opinion the largest thing that the film accomplishes is not the historical account of things, but rather the depiction of the atmosphere and the "vibe" of the time period. First of all, it shows the great value that was put on religion during the early sixteenth century. This can accurately demonstrate how people's psyche worked at the time period, and allows for a theoretical explanation of their behaviors. It explains the familial and spiritual values of the common people, but it also explains the serious decisions made by political leaders that were influenced by religion. The film successfully shows how religion used to be at the epicenter of everything, and how everything was filtered through a different prism. If today one's religious views and position only affect that person, and the community that he is part of; before, a different opinion in regards to religion would mean a large conflict, because religion lied at the basis of everything, and when it was challenged - a lot was being put at risk. Furthermore, it depicts the manners of people of the time and helps the viewer have a better understanding of the social structure; which to my surprise was less conservative than I had expected. However, not being a historian, I cannot state whether or not the film does and accurate job of depicting the culture of the time period. Secondly, the film does a great job of opening up Martin Luther as a character - Instead of being an abstract figure in the heads of people, he becomes a real person who went through law school, a monastic lifestyle and rebellious, religious activism. The viewer is showed how real people can have an impact on the world. However, despite being very inspiring, I was a little bit disappointed in the lack of depth in Martin Luther's character. I had expected to be presented to his "realness," but instead I was introduced to a pretty much perfect human being. When there is an obvious protagonist in the film, a character who is too perfect for the world, the film becomes a little bit boring. In modern day cinema, this phenomenon occurs rarely, because producers have figured out the audience prefers real and relatable to perfect and unreachable. However, this practice did not yet come into action when the film was shot, and so we, as the audience, do not get too much depth to the character. The film, in my opinion, is very biased - it presents Martin Luther as the good guy and the founder of Protestantism, and it presents Protestantism as the dominant religion; This is not necessarily true, because Luther was one of the many activists who had this approach to religion. The film is more theological than analytical and objective; but despite being so one-sided, it actually provides a better insight into the Protestant culture and philosophy. However, all this aside, the film is done very masterfully. Despite being rather old and black and white, it has amazing cinematics. The scenery is not beautiful and authentic, but it is actually the real-life places in which the events of the film were taking place in. The camera movements are very professional and modern - from the following shot, to close-ups. The non- diegetic and diegetic sounds create a great atmosphere and are of a surprisingly high quality. However, one thing that I did not enjoy was the abundant use of voice-over, as it is a rather cheap trick that often goes against the "show don't tell" policy. The costumes were also fantastic. I personally am not sure whether or not they are historically accurate, but they did create an aesthetic and a very unique atmosphere to the film. I particularly enjoyed the final scene when people came together to sing the hymn - not only did it show us the full grandness of the church and the power that the unity of people with common belief create; but it also shows great diversity. I had chills when I was watching this. It highlights the themes of togetherness and unity; and it brings everyone together. Finally, I want to say that I really enjoyed the acting in this film. I always noticed how movies that are aimed at portraying a different time period often have trouble with casting, as it is incredibly difficult to play something that you have never experienced for yourself, and make it seem real. Once again I would like to mention that I have no way of knowing whether or not the film is culturally accurate, but it certainly does seem so - from the actors' accents and manner of speech to their gait, everything seemed so organic, that at times I was forgetting that the film was shot in the fifties and not when the events were happening. Overall, I think the movie is a must watch as it provides a valuable insight into the cultural and historical background, as well as into the theology of Protestantism. However, it must be viewed with caution, as it leaves many things out and is also very biased.

This was included in a budget 3-Disc Set comprising ten religious-themed efforts which have fallen into the Public Domain; indeed, it was the most desirable title of the lot and it turned out to be pretty good. Incidentally, four other small-scale films found on this collection were produced by various evangelical groups and, in fact, so was this biopic. Though compromised in this edition by the softness (and slight damage) of the available print, the handsome production afforded the film itself resulted in two Academy Award nominations (uncommon for an independently-made effort) – best cinematography and best black-and-white art direction/set decoration.

MARTIN LUTHER is a curious collaboration between three countries – the U.S., Germany (from where Martin Luther himself emanated) and the U.K.; in fact, while the director (and bit-part actor) Irving Pichel is an American, the lead here is played – superbly, I might add – by the Irish character actor Niall MacGinnis (perhaps best-known for his chilling portrayal of Karswell, the occult-practicing villain of Jacques Tourneur’s CURSE OF THE DEMON [1957]). His thoughtful performance is very effective in illustrating the various facets of Luther’s personality: his initial inner conflicts, the laying-down of (and firm conviction in) his own beliefs, as well as the strength necessary for opposing the power of the Church (facing disrepute from both his peers and his congregation, not to mention an eventual excommunication). Furthermore, we’re also shown the build-up of support to his particular credo where it attracts people from all walks of life…and even lands him a wife!

The script does quite well in delineating the essential difference between the doctrine of the Catholic Church (in its most oppressive state, back when it was still a political force to be reckoned with) and Luther’s pragmatic but no less steadfast approach to religion: the latter favors a strict adherence to Scriptures in the face of the Church’s fire-and-brimstone teachings (resorting to the deception of ignorant parishioners by proposing the worship of worthless holy relics and the offer of money in order to obtain indulgences in the afterlife, or the callous bestowing of titles upon non-clerical albeit aristocratic subjects).

When I was in Hollywood in 2005, I had caught LUTHER (1974) on TV: directed by Guy Green from a stage rendition by John Osborne and featuring Stacy Keach in the title role, it’s been released on DVD by Kino as part of “The American Film Theater Collection”. While that version, too, was undeniably interesting and effective, the earlier cinematic i.e. less stagey treatment was perhaps the more satisfactory; by the way, there’s been an even more recent biopic of the famous religious figure starring Joseph Fiennes, which is readily available from my local DVD rental outlet.

This reverential biographical film of the founder of the Lutheran Church by the Lutheran Church would hardly have been anything else. The many flaws of Martin Luther, his sexism, his anti-Semitism, get no mention here. His contributions to theology and to the German culture the good ones are discussed at great length.

Martin Luther is not THE founder of Protestantism, he's the founder of one of the Protestant denominations. There was a fellow over in Switzerland named John Calvin, a guy later on in Scotland named John Knox, and even that wife slaughtering monarch in England Henry VIII all founded various Protestant denominations.

Yet Luther, a priest who originally wanted to be a lawyer and who attacked the ruling Roman Catholic Church, certainly showed a lawyer's training. His famous 95 questions nailed to the church door in Wittemberg was nothing less than an indictment.

The great contribution theologically speaking that Luther made was the notion that no one, not even a Pope intercedes for man in his relationship with the Deity. One is saved by faith alone in the fact that Jesus is the Messiah who sacrificed himself for the sins of man.

It should not be forgotten that at this time the Catholic church was very engaged in the geopolitics of Europe and the world as a temporal power as well as a center of faith. The Pope as a temporal ruler had temporal needs like the ruler of any other state, maybe more so with his dual function. Hence the sale of indulgences which according to the Lutheran versions were dispensations for sins to come. I'm sure Catholics will differ, but they didn't produce this film.

Niall McGinniss makes a fine and upstanding Martin Luther. The film was shot on location in West Germany in the places mentioned in the story. The film also got Oscar nominations for Art&Set Design and black and white cinematography in its very graphic depiction of medieval Germany.

It's not my view of Martin Luther, but it certainly is the view that Lutherans certainly have of him.

Of course, Martin Luther is treated in considerable depth at German high schools, but the resulting knowledge consists of a somewhat puzzling series of events and dates. This film shows the atmosphere of the times, the mindset of the people, and particularly Luther's own mental anguish about the condition of the Christian church at that time, and his thoughts and feelings as the driving force of a major religious and political upheaval. Very illuminating is the seriousness with which personal beliefs are taken, not only by the "little people", but by their worldly leaders as well, in contrast to the callousness of the church leaders around the pope. It is also interesting how Luther benefited from the relatively fair and tolerant attitudes and practices of the 16th century, which were completely wiped out a hundred years later.

The acting in the movie is excellent, as are the scenery and costumes, shown in stark black and white photography. The producers spared no expense to present the wide range of political and religious figures with whom Luther interacted. The dialogs are poignant and always clearly understandable over any background music. Unfortunately, my CD exhibits a rather poor video quality, considering that it is based on a post-WW2 b/w movie. Still, the film is fascinating to watch from beginning to end and, if shown in high school, would successfully replace a week of dry learning.

McGinnis' performance is stellar; he was very much like I imagined the real Martin Luther to be; unmovable in his personal beliefs, but compassionate to individuals; enthusiastic about bettering mankind, but merciless about his own weaknesses. The on-location shooting for this movie is wonderful, and the black-and-white cinematography concentrates attention on the actors facial expressions. Supporting actors were very well selected for their characters. Period costumes, activities and dialogue were well-researched and very-well done. The copy of the movie I saw was not restored...so to get the most out of it, you need to give it your full concentration, but you'll be well rewarded. It portrays one of the most pivotal individuals in history, and does it well. As with all the best movies, you wish it didn't have to end...