Réquiem por un imperio

I originally saw the stage play "Taking Sides" by Ronald Harwood on Broadway several years ago. This production starred Ed Harris as the interrogating officer Steve Arnold. The role of Dr. Wilhelm Furtwangler was played by a British actor who was magnificent and unfortunately I am unable to remember his name. The play was not a great success on Broadway for reasons I cannot explain.The entire drama was cast in the office of Captain Arnold.

I personally thought the play was great and the film even better. The reason being that the film was able to portray scenes of Post-war Nuremburg and some vivid concentration camp scenes. (not for the weak of heart) to make its point. Nevertheless as in the stage production, the most vivid scenes still took place in the office of Captain Arnold between him and Dr. Furtwangler. The film roles being played by Harvey Keitel and Stellan Skarsgård. Was the relationship cruel to a point of excess by Capt. Arnold? How true were Dr. Furtwangler's version of life during the Nazi regime. ---??? I wish I could give an answer even to myself--Therefore, no spoiler is possible.

The film raises disturbing questions about the relationship of arts and politics.

As a conclusion, since this was a film with two intensely powerful actors, I would hope to see one or both up for a well deserved Oscar award.

Hungarian filmmaker István Szabó returned to the screen in 2001, with this adaptation of Ronald Harwood's stage play about the controversial case of Wilhelm Furtwängler, the most famous orchestra conductor in Germany during the Nazi regime. A study of opposing points of view on the meaning and value of art, but above all a confrontation of different cultures and world visions. The case is conducted by an American commander, whose vulgarity and narrow-mindedness (with simplistic definitions of right, wrong, democracy, etc., echoing the position of some Americans) is contrasted with Furtwängler's sensibility. Harvey Keitel is an excellent choice for the military, while Stellan Skarsgård brings aplomb and dignity as Furtwängler, who has the support of Keitel's assistants (played by Birgit Minichmayr, and Moritz Bleibtreu of 'Run, Lola, Run' fame.) A short film, considering the length of Szabó's films as 'Mephisto' and 'Colonel Redl.'

This is a very moving film--it examines so many issues, The Holocaust, the third Reich, the role of the arts, the moral dilemmas of artists. Stellan Skarsgaard was wonderful, but I was blown away by the power and sincerity of Harvey Keitel's performance. I've been a Keitel fan since forever, and it seems that his range and talent has just deepened. Perhaps the film is correct in implying that Furtwangler did collaborate with the Nazis, and unfortunately could not keep the realms of music and politics separate as he would have wished. Perhaps criticizing him for not leaving Germany was unfair. I compare Furtwangler to Richard Wagner. Wagner wrote the most incredibly beautiful music, which became the theme music of the Third Reich, and was himself a virulent anti-Semite. Can that music be appreciated for its own sake,without all its negative associations? Keitel's performance expressed the outrage of Holocaust victims

Art vs. politics; the ethical dilemmas of talented artists when politics approaches them; this has always been István Szabó's favourite topic. Already the Oscar-winner Mephisto featured a talented actor selling his soul to the Nazis. This time the story is based on real-life events: while most of his colleagues fled the country, Wilhelm Furtwängler, this truly exceptional conductor stayed in Germany during the Nazi era and continued his career with the Berlin Philharmonic Orchestra. His "collaboration" provoked strong accusations after the war.

The film is the story of the investigation by the American post-war authorities to decide whether the accusations of collaboration are valid. The film presents two ethical answers. The first one is stated by the American officer (played excellently by Harvey Keitel), who believes that Furtwängler is morally guilty, as he accepted a shining career from the Nazi's hand. The second answer is presented by Furtwängler himself who tries to defend himself by stating that in order to help (by "help" he both meant practical assistance - as he did save many Jews during the war - and a spiritual message - as he claimed that his music maintained the inner good in his nation's soul even in the time of Evil) he had to compromise with the Nazis, but he never really collaborated with them. The film itself (despite its title) does not take side, although it seems to sympathize with Furtwängler as an artist and generally presents the American officer as an ignorant and illiterate person. However, as the investigation proceeds, this aggressive and obnoxious person asks questions that are very hard to answer: is it acceptable to make such a compromise with a regime that kills 6 million Jews? Is it really so that Furtwängler made the compromise with the idea of helping people in need? Or rather, did he make it to advance his career?

The film has triggered exciting conversations with my friends who have differing opinions. I think these lengthy talks are the best proof that this is an excellent film and it has achieved its aim.

The story has several layers (I particularly liked the way differences of American and German cultures are presented), the characters are exciting and well played: if you like thought-provoking movies, go for this one!

Harvey Keitel plays Major Steve Arnold, a small man in insurance, from New York. Stellan Skarsgård plays Furtwängler, a genius who was loved and courted by the Nazis.

The Major pursues Furtwangler like a rabid dog, determined to show that that Furtwangler was guilty of something.Why didn't Furtwangler leave when he had the chance? Did he seek out accolades from the devil?

Why is Major Arnold so Angry? It it the anger of a small man who feels spat upon by life, suddenly given the chance of bring down someone once so High and Mighty?

FurtWangler is aloof, distant, full of easy platitudes about the redemptive quality of Art. Major Arnold is mean and streetwise, quick to attack and condemn those who he does not understand.

Who is in the wrong? In the end does it mean anything to believe you are right? In whose eyes anyway? This film asks some difficult questions about how we perceive ourselves and others, how we question our most basic motives. Very Good.