Moloch

MOLOCH (translated as 'a demon in the shape of a man') is a film that shows yet another aspect of Aleksandr Sokurov's approach to film-making. As in his splendid 'Russian Ark', 'Mother and Son', and 'Father and Son' he manages to say more in his silences and interplay of his characters with nature and their environments that in his spare scripts (this script is by Yuri Arabov and Marina Koreneva). His movement is slow, like an adagio, his eye is constantly on symbolism and irony, and his filming/camera technique is always experimental. Given these factors 'MOLOCH' is a fine example of how Sokurov works his magic: whether or not the viewer will relate to this bizarre film depends on how willing one is to enter Sokurov's vision. This film about Hitler is very much a Russian product and given the history of the relationship between Russia and Germany, that fact is necessary to know.

1942, in a fortress in the clouds of Bavaria, we find Eva Braun (Yelena Rufanova) cavorting balletically both inside the foreboding stone 'dungeon' and out on the dangerous parapets. She is visited by a strange entourage: Hitler (Leonid Mozgovoy), Dr. and Mrs. Goebbels (Leonid Sokol and Yelena Spiridonova), Martin Boorman (Vladimir Bogdanov), and a priest (Anatoli Shvedersky). The action takes place in a single day and during this time the actual war is not discussed. We are to understand this is a retreat for relaxation, but as we get to know the characters we find that many hints of the evil and insane minds of all of them. They talk: Auschwitz is mentioned and Hitler apparently has never heard of it; Hitler pontificates on power; the Goebbels demonstrate their abject worship of Hitler; Eva Braun is the sassy journalist who is the only one who can talk back to Hitler, teasing, seducing and acquiescing to his inability to demonstrate intimacy. They dine (Hitler's vegetarian mentality deplores the 'corporal soup' his dinner partners devour), they watch old grainy black and white news clips of war machines, new tanks, soldiers, and oddly a performance of Beethoven's 9th Symphony with Knappertsbusch conducting. Then the guests retire, and Hitler is joined by Eva Braun in a bizarre boudoir scene. In the morning the entourage leaves and Eva remains, retuning to her strange world of dancing through the fortress.

Throughout the film the music is that of Wagner - Siegfried's Funeral Music, and other passages from 'Die Götterdämmerung' (Twilight of the Gods!) accompanied by some banter about Furtwangler and Bruno Walter as well as Knappertsbusch. The acting is somewhat stylized which adds to the bizarre mood the story creates. In the final analysis this appears to be Sokurov's image of a mind gone mad with power and visions of immortality and it is only at the very end when Eva Braun whispers that he cannot defeat death that there is a moment of vulnerability in the historical Hitler.

This is a slow moving 108 minutes of film and not for everyone's taste, but if you are an admirer of Aleksandr Sokurov it is a mesmerizing journey through the cerebral passages of one of history's worst molochs. Grady Harp

It's a masterpiece. Provocative and strange. As you watch you wonder what the hell is going on. It's one of those films that shakes up your idea of cinema. It overturns your idea of history dealing with a subject that has been stamped and framed through so many documentaries and films so that you have already have your mind ready made for you. Nothing can be further from this movie. This is a movie that makes you rethink. And it's funny too. As the title suggests it's about evil and evil empires but instead of dealing with their grandiose and terrible projects it approaches Hitler and his cronies by illustrating their banality, ordinariness, and yes, ridiculous antics. There's no way you could describe this film as in some way supportive of Hitler. Hitler playing around with his teasing lover, his masculinity and prowess at stake. Hitler pontificating about this and that with every word he says taken down in writing as though it were gospel. Hitler with his bloated and deformed cronies messing about in the Eagles Nest, up there in the mist looking over his empire of clouds. Sokurov has made great movies and this is another.

Part of a tetralogy that includes the recent, amazing "The Sun" about Hirohito (2005, shown at the New York Film Festival but as yet without a US distributor), as well as "Taurus" (Telets, 2002), about a mortally ill Lenin. (The fourth I think is not yet made.) All concern men of great power at decisive and tragic moments. "Moloch" concerns Hitler in 1942 in an eagle's nest castle in the Bavarian Alps, isolated, as in other portraits, among his cadres and Eva Braun, indulging in grumpy vegetarian dinners and tossing about weird racist remarks about other nationalities. This is acted by strong members of the theater of St. Petersburg, Elena Rufanova as Eva Barun, Leonid Mosgovoi as Hitler, Leonid Solol as Goebbels, Yelena Spirindonova as Frau Goebbels, Vladimir Bogdanov as Martin Bormann, whose lines are dubbed by German actors, and this is done well. The whole is bathed in a murky green-gray or verdigris fog -- saturated, someone has written, with a kind of patina characteristic of old Agfa films -- the fogginess typical also of Sokurov's style elsewhere, with (as in The Sun) a sumptuous feel in the mise-en-scène and amazing, evocative period realness to objects (photo books, ashtrays, serving dishes) which seem at once solid and delicate. Yes, this is remarkable film-making. But the film as a whole is yawn-inducing. Hitler spends most of his screen time moaning about his health. Ten minutes are devoted to Eva's wandering around naked without a word spoken. She is graceful and athletic; but why? Well, to evoke the boredom and idleness of the isolated concubine -- but is such length necessary? "Moloch" is very different from, and rather disappointing in comparison to, "The Sun's" stunning, touching portrayal of Hirohito, which dwells also on trivial moments, but always in the cause of a sensitive exploration of character and situation. There is a hushed intimacy about "The Sun" that "Moloch", though it has a few grand moments and may even evoke Lang's "Metropolis," never attempts. Hitler doesn't even really talk enough, and this brings us to the inevitable fact that at this date, 2006, "Moloch" is thoroughly overshadowed by the far more conventional, sometimes heavy-handed, but nonetheless richly detailed and accurate and breathlessly exciting recreation of the last days in the Bunker achieved recently by Oliver Hirschbiegel in his "Downfall" ("Der Untergang," 2004), released in the US last year and containing Bruno Ganz's powerful performance as the Nazi dictator.

Yes, it would be easy to criticize Molokh for being slow, and for having Russian actors mouthing German words that aren't natural to them, but I found this film to be fascinating through most of its length (and if Tarkovsky had made it, it would have been TWICE as long).

What we see is Hitler and his inner circle being jovial and vicious by turns, along with loopy discussions of racial characteristics (Czech men have droopy mustaches, indicating moral turpitude; the Finns are rendered mentally unfit owing to cold weather, etc.) There is a lot of backstabbing going on between Bormann and Goebbels; pity that Goering isn't in the film--we would have benefitted even more from his cynicism. All of this has the ring of truth--I recently read Speer's memoirs, Inside the Third Reich, which has detailed accounts of these lunch and dinner talk-fests.

Yelena Rufanova is not convincing as Eva Braun--too slavic looking--but Leonid Mozgovoy with his dumpy body is great as Hitler. The hypochondria, the refusal of middle-class pleasures--no slippers!--the insane political musings: it's all here. Leonid Sokol is Goebbels, absolutely. The rat face on a dwarf's body, the desperate ridicule of Bormann whom he knows is cutting him down: this is fine acting.

Sokurov adopts Leni Riefenstahl's style to tell a Wagnerian story of grandeur and collapse.

Molokh is an intimate portrait about the state of torment of a reduced delirious aristocracy. The limits of the characters are often confused with the environment, with the unreal atmosphere of the landscape. It is important to highlight its fine technical work and especially its cinematography: a very careful composition in each scene. The cold way in which the light is treated and the density of the environment in each picture are the perfect frame to explain the morbid delirium of a group of attenuated and bizarre figures confined to their desolation. The dialogues have a certain dynamic and despite their absurdity and pathos they maintain enough dramatic tension so that the film is not lost in boredom. An original movie with an independent way to explore, from the formal simplicity of its cinematic, the hypochondria, the mania and the phobia of the main character and his naive and wicked chorus.