Eine offene Rechnung

It's always nice when you see a movie trailer that looks pretty good, and then when you see the movie it far exceeds your expectations. The Debt, a remake of a 2007 Israeli movie of the same name, is a suspenseful espionage thriller about a team of Israeli Mossad agents as they attempt to track down "the Surgeon of Birkenau". The movie incorporates flashbacks and flash-forwards in a controllable fashion, with approximately half the movie taking place in 1966 and the other half taking place in 1997. The film is based on a screenplay co-written by Jane Goldman and frequent co-collaborator, Matthew Vaughn, a rising star known for his writing and directing of films such as the underrated Kick -Ass and the 2011 summer hit X-Men: First Class. Director John Madden, best known for his Oscar winning movie Shakespeare in Love, crafts an intriguing film that although predictable at times keeps you engaged. In The Debt, Madden has made some great choices in casting; beginning with Oscar winner Helen Mirren and Oscar nominee Tom Wilkinson, both of whom provide stellar performances. Jessica Chastain, Martin Csokas, and Sam Worthington, although not having any Oscar nominations of their own, give captivating performances during the movie's most brooding scenes.

I enjoy espionage films, such as Munich, Spy Game and North by Northwest, immensely. The Debt's strength, much like those other three films, is that it's character and story driven and not dependant on action or special effects to maintain its viewers. The pacing is steady and there's a lot of intensity as the agents attempt to accomplish their mission. The subject matter of the film is a dark one, and that's reflected in the film. Unlike your neighborhood police department or county sheriff's department, intelligence agencies do whatever is necessary to get the result they are seeking; such as some uncomfortable visits, for the patient as well as the viewer, with Dr. Bernhardt, played disturbingly by Jesper Christensen The movie kept me intrigued throughout, and I find myself often sliding up to the edge of my seat, unable to tear my eyes away from what was happening. As the film drew to a close, most questions are answered and closure is provided, unlike just about every other movie made today.

Grade: B+

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In John Madden's The Debt, three young strangers in 1965 East Berlin seek to find and capture The Surgeon of Birkenau, a ruthless doctor that performed horrific acts on imprisoned Jews during World War II.

The threesome are played by Sam Worthington, Marton Csokas and Jessica Chastain who embody David, Stefan and Rachel respectively in their younger years. Ciarán Hinds, Tom Wilkinson and Helen Mirren play the characters when the film switches between the 1960's to the end of 1999.

The film flips between the thirty year time frame liberally in the first third of the film. We watch as the young David, Stefan and Rachel welcome us to 'The Mission' and follow them through the intricate plot details that, if all goes correctly, will bring the doctor to across the Berlin wall to face trial for his actions. Young Rachel will pose as a patient to gain access to the doctor and when confirmation is received, she will use her special training to subdue the surgeon so that Stefan and David can transport him alive to West Berlin and then back to Israel.

But things don't go according to plan and soon the three are forced to remain in hiding with their prisoner until they can determine a new course of action. It's while cooped up in their apartment that the doctor begins to use mind games in an effort to gain the psychological advantage while revealing the true evil behind his words.

In more modern times, we learn that Rachel and Stefan had both married and divorced. Their daughter has written a book about the abduction and the days that followed in the apartment detailing her parents as heroes to the cause.

But recent developments and an unexpected suicide by David leave Stefan and Rachel in the same position they were 30 years ago. And one must travel back to Europe to seek out someone who claims to be the original Surgeon of Birkenau.

John Madden is no stranger to award winning dramas. Shakespeare in Love won out over Saving Private Ryan and Ethan Frome was a well received romance back in 1993. Madden works the camera like a maestro in effortlessly weeding the story through multiple decades. The film never loses focus and relies on its strengths – namely the performances of Mirren, Csokas and Chastain – to carry the heavy plot line forward.

However, in the final acts, the story gets a little lost. Watching Mirren head to Kiev, Ukraine was a leap of faith and political, social and moral values begin to choke the life out of what was a better than average thriller up to that point.

With the conclusion of The Debt being too heavy handed to maintain the thin weight of the first ¾, The Debt eventually fails to be the film that showed award promise in the trailers. We are not suggesting that The Debt is a bad film, but its final reel wilt does take away from the execution of its predecessors.

Mirren may still get award recognition come December (the film is officially released December 29th), but it may be a long shot to see The Debt as one of the Best Picture nominees.

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A plodding plot, dull dialogue and cardboard characters made this a boring evening. Does Mossad really recruit self-obsessed inadequates from soap operas? The film starts with a confusing series of action sequences posing unanswered questions, which I found irritating. It then proceeds to an over-long and pedantic account of the bungled kidnapping of a Nazi war criminal, who is the standard stock Nazi. At least the same cannot be said of the Mossad agents, who would be more at home in Eastenders - emotional turmoil and histrionics prevail and the situation deteriorates into total catastrophe.

However have to say that my wife liked it!

Surely the older (recent) male actors were around the wrong way? Confused the hell out of me.

The plot of THE DEBT is rather enigmatic and a bit confusing because of the technique of cutting back and forth between past and present. Added to this is an even more problematic factor: the younger and older counterparts don't look a bit alike, so keeping track of them by character names can keep a viewer in a distracted frame of mind.

Other than the script problems, it must be said that the acting is all on a high level, and the story is particularly engaging during the earlier 1967 sequences. This is partly due to the fact that Rachel (Jessica Chastain) gives the most impressive performance in the film and is someone who immediately involves you in the story. She emerges later on into the Helen Mirren image, which is not quite credible in my opinion. Mirren does a fine job as the mature Rachel and her final scenes with the man she has been hunting down is staged realistically with gut-wrenching violence.

If you can get beyond the casting problems involved, the story is taut with suspense but told at a rather leisurely pace.

Tom Wilkinson and Martin Csokas as old and young Stephan; Ciaran Hinds and Sam Worthington as old and young David; and Jesper Christensen as Dr. Vogel give performances that cannot be praised highly enough. The only drawback is that the resemblance between young and old is entirely missing, a fatal flaw when a film is told in cross-cuts between past and present.

Hunting down an ex-Nazi surgeon who has committed war crimes always makes for an interesting story idea...but in this case, there are too many flaws to make the film wholly successful.