Das Leben der Anderen

This film utterly blew me away. Full disclosure: I'm a German born (Munich born) German-American who left Germany in 1986, before the wall came down. I cannot describe the feeling I felt as the last few words were spoken on the screen. I could not look at the subtitles ( a habit of speaking two languages ) because my eyes were so full of tears. I cannot tell you how I was so sorry I did not experience the wall coming down. This film healed a wound that may have been left by the nightmare years of 1938-1945, my own great uncle being a Nazi war criminal, convicted in Nuremberg in 1946. Yes, we are mensch too. We have the potential for greatness (of character) in spite of our history. Thank you Florian Henckel von Donnersmarck, for giving me back half of my lost soul in this single "es ist für mich". I am reminded again that the difference between ourselves and beasts is that we have a choice.

East Berlin, November 1984. Five years before its downfall the GDR seeks to maintain its power with the help of a merciless system of control and observation. When Oberstleutnant Anton Grubitz puts loyal Stasi-Hauptmann Gerd Wiesler on to the famous writer Georg Dreymann and his girlfriend Christa Maria Sieland who is a famous actress herself, he expects career advancement for himself. For most important politicians are responsible for this "operative act".

What Wiesler did not expect: the intimate view on the world of the ones he's observing changes the snitch as well. Looking at "the life of the others" makes him aware of the beggarliness in his own life and enables access to a so far unknown world of love, free thinking and speaking he is hardly able to elude. But the system can't be stopped anymore and a dangerous game, which destroys the love of Christa Maria Sieland and Georg Dreymann and Wieslers present existence begins.

Until the fall of the wall each of them has paid a big price. After that a whole new world begins.

My personal opinion - though it doesn't count that much - is that this one a an absolute Must See. I can hardly remember such an intelligent and moving German movie especially not including the whole topic of GDR history and the dealing with it. I think this is the first German movie which shows this system as it used to be (which has been confirmed by several contemporary witnesses) and not turns it and its people into comedy though there have been several good ones, of course.

I saw this film in its North American premiere in a packed theater at the Toronto Int'l Film Festival this past week and was pleased to be part of a standing ovation at the end for the director and star, who were both on hand.

"The Lives of Others," set in East Germany not long before the fall of the Berlin Wall, tells the moving story of a police investigator forced to confront himself and the work he does. In a society poisoned by secrecy, fear and the abuse of power, a number of the movie's characters -- artists, actors, writers -- must look deep inside and decide what they are made of; none more so than the investigator.

This is a movie that took me to a place and time that felt very authentic, for a tale that was very satisfying.

Ulrich Muhe, who plays the investigator, is mesmerizing, and the young director is to be applauded for this, his first full-length film. Some have compared "The Lives of Others" to Coppola's "The Conversation" but the two have completely different story arcs and are only superficially similar.

Both my companion and I felt this was our favorite of the six films we had a chance to see at the festival.

I wonder why there has been so little written and publicized about this movie. This should be seen in every country and its merits trumpeted from the skies.

It starts off slowly and the locale is the former East Germany, inhabited by 16 million people who are being spied upon relentlessly by their secret police. In this very real world of the Berlin Wall, there are many Stasi, 90,000, overseeing the populace, aided and abetted by hundreds of thousands of informants. Many of these snitches were blackmailed or other pressures exerted (threats to children and loved ones) and a few obliged voluntarily.

What is truly amazing is that this is Florian Henckel von Donnersmarck's directorial debut, and he maintains a masterful hand throughout and keeps the story and the tension rolling from the first scene of interrogation which is filmed back and forth between a tape educating new Stasi as to interview techniques and to the actual cell itself where it was recorded.

The movie circles around three main characters and there is a wider circle of the powerful who pull the puppet strings for a variety of reasons which become clear as the movie unfolds.

First is Georg Dreyman, a playwright on the verge of celebrating his 40th birthday. Sebastian Koch, a tall,handsome actor dressed in writerly rumple, shares an apartment with his actress girlfriend, Christa-Maria Sieland (Martina Gedeck), and exists within the strictures of the state-sponsored theatre. He is a decent man, and tries to win support for his blacklisted friends.

For reasons that become quite clear, Dreyman falls under suspicion and the whole sophisticated Stasi spying system comes into play in the era of 1984. His whole apartment is bugged and every sound is monitored.

The man in charge of all this is Captain Gerd Wiesler,(Ulrich Mühe). Ulrich's performance is nothing short of stunning. He starts as an almost robotic presence, dressed in gray, he almost disappears into every scene he's in. But one detects a clear intelligence in his bright eyes, the only part of him that's alive. Captain Wiesler lives in a non-descript arborited apartment, much like himself. He squeezes his food onto a plate from a tube.

But the captain starts to awaken slowly as he listens surreptitiously on the state of the art equipment secreted in the attic of Dreyman's building. He starts to fall in love with the couple and then pressure from above is brought to bear on him to dig for the dirt in Dreyman's life.

And he is in a dilemma now, as he is drawn further and further into the life of Dreman and his girlfriend.

I won't throw spoilers down. Suffice to say is that the story is enthralling right down to the very last frame. The acting is superb, the direction impeccable and the world of East Germany meticulously drawn with the viewer respected enough to find his or her own emotional path through the plot.

The ending is truly one of a kind. So right and true that I was left nodding, it was the only one possible.

A must see, I will sing the praises of this film to all I know. 10 out of 10 from me. Right up there in my top 50 of all time. I find it so disappointing that these movies don't get wider release AND compete for an Oscar in the best picture of the year and not just for best foreign film. Now there's a heretical thought!

After seeing the outstanding Pan's Labyrinth, I could not understand how anything could beat it to the Oscar for Best Film, let alone the accolade of Best Foreign Film. That was until I saw The Lives of Others.

Putting it simply, this is the best film released in years. The framework of the story surrounds a Stasi officer who is assigned to monitor a writer and his actress girlfriend considered loyal to East German regime. That is all I am prepared to reveal because this film operates on so many levels that I wouldn't know where to begin. On the surface this can be enjoyed as a taut drama but essentially it is a study of the human condition and the capacity for compassion and humanity exists in even the most inhumane people. All of this is shot against the backdrop of the greys and browns of communist East Germany.

As a film it is virtually flawless. The three central performances are nothing short of electric, with particularly Ulrich Muhe giving one of the greatest leading man performances since Al Pacino in The Godfather. None of this would be possible without a brilliant script and exemplary direction, that brings the characters to life extracting the best out of the actors. The result is no words are wasted, and every scene is relevant and expertly conceived. This manages to explore deep issues without being turgid, is moving without being draining and remains gripping and entertaining without being superficial.

In summary, this is film-making at its finest. It is the sort of movie that you'll go down on bended knee and pay homage to the inventor of cinema, because it is films like this that cinema was created for. You'll forgive a year of tedious sequels and cash cows, for the one day that films like this get released.

10 out of 10 is too modest.