Der Hauptmann

Germany, April 1945. WW2 in Europe is almost over, resulting in mass desertions and disorder in German ranks. One deserter, Willi Herold, is on the run when he comes across the abandoned uniform of a Luftwaffe captain. Impersonating a captain he gathers together a rag tag group who assume the role of an anti-deserter/looter task force. Things come to a head when he is given responsibility for a camp where deserters, looters etc are detained, with dire consequences.

Interesting WW2 drama, based on a true story. Quite novel in that it doesn't involve any confrontation with the enemy (well, except for one scene): the struggle is all internal. Also covers areas of WW2 that don't get much attention: the post-apocalyptic-like final days of Nazi Germany, the treatment of deserters etc and this series of events in particular.

Plot is reasonably engaging, though a bit too drawn out. It could also have been more powerful: despite the events portrayed it really didn't feel that gritty or shocking. Everything just seems to happen, sometimes as if in slow motion. Maybe that's the effectiveness of the film: by the time you reach the critical moments you've become desensitised to all the killing, anarchy and atrocities. Still, it felt a bit flat to me.

Great performance by Max Hubacher in the lead role. Solid supporting cast.

Worth watching for a different angle on WW2. Not a must-see though.

The film revolves around authority, the trust we tend to have towards a person we endow with authority, official ranks, hierarchy, "Kameradschaft", the sense of belonging to a group, and (for me at least), egoism in general. It is also quite brutal and sadistic. The story itself, with the most improbable twists, is taken from a real life story at the end of the war. It is rare in war films to have the perspective of the criminal. We do not sympathise with him, but rather he impersonates the beast in every one of us. Another merit of the film is quite natural: German actors can of course impersonate German soldiers better than for example US ones, it also gives a realistic touch to the film as opposed to US war movies featuring evil nazis. The message of the film was for me clear and delivered with a great impression - I will not write it here as it would be flat in my words.

It's beautifully lit and shot movie. Greatly edited. Boldly directed. Yet somehow empty. Brings to my mind great "Ravenous" by Katherine Bigelow - the same, bit weird, grotesque, satirical tone of the story, the same kind of director's interest in evil within any of us. But - from staging and casting, trough costumes, props, locations, acting, cinematography, to editing, and the role of music and color - "The Captain" is much much much better, more consistent and more determined in terms of aesthetics than Bigelow's vision. And, in the same time, much much much more misleading in terms of its identity. You really can't tell WHAT kind of movie this is exactly - a bit thriller, a bit war cinema, a bit western, a bit drama, a bit dark comedy, a bit fairy-tale, a bit noir, even a bit horror and poetry.... It's refreshing to see WWII topic being treated with such a nonchalant attitude (Tarantino does not count - he is just a separate ligue of his own, and his aims with "Glorious Bestards" are just completely different in my opinion), but on the other hand "The Captain" seems bit immature, bit comic-like, bit 'form-over-substance' kind of thing. But... on the other hand again - the grotesque immaturity of depiction corresponds with grotesque immaturity of the very young main character who's real-life doings were the core of the story. On the other hand though... end credits add another layer of interpretation to the mix. And so on, and so on.

Very thought provoking movie - if you like to think about cinema's language and purpose, or the reasons behind every evil (or even about a role of ego in those two areas respectively). Not so much if you want to explore REAL dilemmas and REAL tragedies of WWII - here, those are SURREAL rather.

Summing up - definitely worth watching, as a somehow different approach to an already very well covered subject.

To me, it reminds Medieval stories about an accident changing everything. The man, the world as the best self definition. A film about fear. Its roots, its fruits, the absolute power covering all and the fragility of illegim position as source of cruel gestures and long chain of improvisations. The best point of film - the superb performance of Milan Peschel as Freytag. The simplicity of profound good man front to the high cruelty, knowing the truth, preserving respect, in the shell of a deep shock behind the gestures of young Herold. All is reflected by the great art of Peschel. The war becomes only pretext for the instincts of a falling world. The beautiful cinematography, the memories about similarities with films by Fellini or B>ergman, the veil of ash around each scene, the last words on screen about a private and his illusion of power , the predictable end of a story who is more real than reality .

Well maybe "knew it" would be better ... but that would not be as close to the song as I had in mind. Just a little nugget/hint/joke I like to make with my summary lines. Not that this is a comedy - most German movies are either known as romantic comedies/dramas or have the second world war as a topic - this obviously being the latter.

This has an intersting twist with a character assuming a position and power grab, that will run throughout the movie. War is not a game and what it does with people (especially when they get into a position of power) is shown here very vividly. Very well played and acted (mostly in black and white nonetheless). If you don't have issues with the subject matter and the symbols shown, the movie might be something you want to watch. Interesting take to say the least.