Der Hauptmann

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.

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.

You can compare this WWO2 movie with the style of Dunkirk. That means that the movie is not for everyone, but if you can appreciate this kind of movies, it's magnificent. The movie doesn't want to be a hollywood blazing brainless action movie, but wants to portrait the germans on an individual level. Like @barta-46978 says, the movie is about authority and gives yourself an insight in what it must have been at the time, and even how you would react in the given circumstances. The movie is explicit and kind of shocking. It really intrigued me, we need more movies like this.

I'd like to make it very clear that I seldom rate any film a 10. IMDB is awash with 10's that have little originality and are complete nonsense ratings. 10 should ALWAYS be reserved for films which are unique and outstanding. Now I know that is rather a vague definition but for me, at the end of the day a '10' has got to be reserved in order to maintain some modicum of rating integrity.

This film took me on a quite unexpected journey; From an apparantly innocent private just trying to etch out some degree of respite and dignity from the chaos of war, to a shakespearean like or perhaps more fittingly Conrad-like descent into the depths of desperation, depravity and moral absence. The film has so many layers and aspects of what human beings are capable of under extreme conditions; The man who chooses to take his own life, immediately juxtaposed by his friend who proceeds to take the lives of others in the hope of extending his own until the next appalling moral dilemma is presented. (too many to go into here). There is so much I could say about this film but will just end on one particularly high impact scene that at least for me, represented both the darkness of nature, and that of human nature: Towards the end of the film, the protagonist comes across skeletal remains in a forest. One particular artistic cinematic shot renders the remains in such a way that they appear to have oozed out, or been thrown out, by the dark mouth of the forest, the forest clearly being a metaphor for the dark power of nature that has no moral measure; it just, is.

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 .