My Father, Rua Alguem 5555

Our decisions are based not only on rational conclusions, but to a certain (and relatively large) amount on our emotions that might even contradict any rationality. This however is due to the fact that we are human beings and we learned to deal with this, as we have to balance this equation every day to come to decisions. Most of the time we're not even aware of this any more, but the more rationality and emotional state drift apart, the stronger becomes our struggle. If this struggle is forced to its extremes, man at a point becomes aware that he is stuck, stuck with a burden he is not able to carry, nor able to rid himself of it. At some point there he loses the ability to live and goes to rack and ruin.

And here, at its extremes, the movie fades in. Based on the story `Vati' by Peter Schneider, "Papà" tells the story of Hermann (Kretschmann), a young man who never got the chance to consciously meet his father, picked on and beaten up in school for reasons he could not imagine, tolerated by his teachers, but treated like a ghost. Growing up he will discover that it was not him who created all this hatred, but his name. Hermann, now a full-grown man, takes the chance to travel to South America to meet his father for the first time - a man who as a doctor and genetic scientist is responsible for the death of thousands of prisoners in the concentration camp of Auschwitz, responsible for ghastly human experiments he performed on children and new-borns, a man who decided between imprisonment and "Vergasung". "Der Todesengel" of Auschwitz Dr. Josef Mengele (Charlton Heston) has - with the help of his family and friends - managed to escape trial by fleeing to Latin America. Hermann wants to confront his father with his past, somehow yearns for answers that do not exist, or if they did, are those of another generation which are not understandable. But his slight hope to convince his father to face his past and give himself up to the police quickly vanishes as not only Hermann, but also his father has been waiting for this meeting for ages, convinced to get his own flesh and blood on his side, to rid Hermann of the "lies of his enemies". What follows is a cold war between father and son. Hermann finds himself torn apart by his struggle of doing the only rational thing - denouncing his own father - or surrender to his uncertain emotions and cover him. Can there be a bond between father and son so strong that a mass-murder-identity can be accepted by the ladder, even though they hardly know each other? Has Hermann any right to cover his father or would he cover himself with guilt as well?

This movie is not only about the struggle of a young man he won't be able to win, nor is it only the biography of the KZ Arzt Dr. Mengele. "My father" covers even more. It depicts the human desire of justice, a somehow strange and unfortunate desire as in this case it cannot be satisfied. It hints the victims' states of mind that will never ever get "justice". Could the capture of this man make up for the enormous pain the victims had to suffer? Definitely not, but it would have helped to ease another pain - the total helplessness derived from the idea of the most wanted mass-murder alive at that time to escape trial and live in peace till the end of his days. A man that "does not deserve to rest". It is this helplessness in the end that makes it so hard for the victims left behind without the chance of justice to accept their torturer's death. Mengele dies in 1979 near Sao Paulo under mysterious circumstances leaving enough room for speculation he might perhaps once and for all have escaped persecution by faked death. However six years after this incident the israelian secret service will find his grave; examination of the skeleton and teeth will confirm Mengele's identity.

Heston's performance as Dr. Josef Mengele is completely stunning, a role he played so convincing and strong (his pro-rifle propaganda rallies across the country for the NRA might have been the ideal training) that his charisma and pure darwinistic lectures given to his son overlay his mass-murder-identity. And at some point you might catch yourself, deeply shocked, thinking of this murderer as a poor old man who might as well be just a victim of a horrible system. Sure, this choice of cast felt strange at the beginning, but after seeing the result, I could not think of any better choice. And as Peter Schneider said: "Be honest, would you rather have liked to see a Dustin Hoffman or Richard Gere in this role?" Nothing more to add to this. Kretschmann plays the role of Hermann with great routine which is ironically exactly what he lacks when it comes to discussing the movie or giving us an idea of how he felt playing this character. No bad intention, but on the screen he seems to feel much more comfortable than in front of an audience, but who am I to blame him.

The struggle that the hero of this movie Hermann has to go through on the screen, definitely a fight he cannot win (whatever his decision may be at the end), is projected onto the audience ( thank god we don't have to cope with that for a lifetime ). And if it was for this effect alone, "my father" would be a success. 8.5/10 => 9/10

In 1985, the grave of notorious Nazi doctor Josef Mengele was exhumed, and his bones were taken for DNA testing, to definitively prove that the sadist had met his end. His son, Hermann, was present at the exhumation, and was approached by Paul Minsky, a lawyer representing survivors of Mengele's barbaric experiments. Minsky wanted Hermann to explain the meeting he had with his father in 1977, to ascertain what Mengele was like during his last days, and why Hermann did not turn the war criminal in. As Hermann tells the story, a devastating portrait of evil emerges as unnerving as it is unforgettable.

Directed by Egidio Eronico, and based on the novel 'Vati' by Peter Schneider (which was, in turn, inspired by Rolf Mengele's real-life meeting with his father in 1977) 'Rua Alguem 5555: My Father' is a compelling drama examining the conflict between familial loyalty and moral integrity. Merging fact and fiction, the film paints a well-wrought picture of the elder Mengele as an unrepentant National Socialist, who claims- like Admiral Dönitz in the powerful documentary 'The Memory of Justice'- he was only doing his duty, and therefore not personally responsible for any crimes against humanity.

The character of the elder Mengele is contrasted with his son, Hermann, whose ethical considerations are juxtaposed with the inhumanity of his father. Hermann's inner turmoil is well realized throughout Eronico and Antonella Grassi's screenplay, while their characterisation is consistent and believable. Their examination of themes- such as the responsibility of the son for the sins of the father, the role of justice and forgiveness in healing the wounds of the past, as well as the dangers of fanaticism and ideology in shaping human behaviour- is mature and dealt with tactfully. Although the non-linear narrative structure seems unnecessarily theatrical from time to time, and the ending is all too abrupt; the journey there is a memorable one nevertheless.

Conversely, János Kende's cinematography is underwhelming. Although the inclusion of real photographs detailing the horrors of Mengele's work bolsters the overall message and narrative power, it is the only aspect of the film with any visual flair, weight or creativity. Kende mostly relies on static shots, dull colours and conventional angles, making proceedings look bland and uninspired. Unlike Henri Decaë did with 'The Boys from Brazil', Kende fails to capture the beauty and horror of the South American landscape, while also missing the opportunity to utilise symbolic and expressive imagery- such as shadows, reflections or contrasts- to convey the psychological and moral dimensions of the story. The cinematography doesn't match the intensity and complexity of the film's themes and characters; thus diminishing its overall effect.

On the other hand, Riccardo Giagni's score is atmospheric, creating a sense of dread and suspense throughout 'Rua Alguem 5555: My Father.' His melodies also reflect the emotional states of the characters, such as Hermann's confusion and guilt, Mengele's arrogance or Minsky's determination. Incorporating some elements of Brazilian music- such as samba and bossa nova- Giagni creates a contrast between the exotic location and the sinister plot; that Kende's cinematography largely fails to do.

'Rua Alguem 5555: My Father' stars Thomas Kretschmann as Hermann, opposite Charlton Heston as Mengele and F. Murray Abraham as Minsky. Kretschmann delivers a nuanced performance, subtly showing Hermann's conflicting feelings about his father and his vile deeds, while Heston is as commanding a presence as he ever was as the not-so-good doctor. He takes the role seriously, never drifting into the realm of parody like Gregory Peck threatened at times to do in 'The Boys from Brazil;' doing masterful work. Abraham brings power and pathos to his role as the dogged lawyer Minsky, while Denise Weinberg is consistently excellent as a fanatic of Mengele's named Magdalena; who is just as sinister as he.

In conclusion, Egidio Eronico's 'Rua Alguem 5555: My Father' is a powerful drama tackling several themes in an intelligent, nuanced way. Offering a unique insight into the mind and character of one of the Third Reich's most notorious figures, the film boasts a fine screenplay, a stirring score and strong performances- especially those of Thomas Kretschmann and Charlton Heston. Although there are some structural issues, the cinematography isn't much to write home about and the ending is far too abrupt; 'Rua Alguem 5555: My Father' makes for a most compelling viewing experience.

The last starring film of Charlton Heston, and a respectable swan song for one of the finest American actors of the 20th Century. This is a story based on the real life Nazi villain Dr. Josef Mengele, who was the despised Auschwitz surgeon who performed atrocities on children. Heston plays the elderly criminal (who is never referred to by name in the film), who is reviled, and has spent the last thirty years moving from country to country and living as a fugitive from justice. Mengele's orphaned son Hermann (Thomas Kretschmann) has never seen his infamous father but has endured a terrible life of persecution for being the offspring of this hated murderer. When the alleged bones of the six-year's-deceased elder Mengele are dug up in 1985, Hermann grants an interview to a Jewish lawyer (F. Murray Abraham) telling all he knows about his dad. Through his memories we are taken back eight years to the one time Hermann risked a dangerous journey to a dirty shanty town hut in Brazil, to confront his notorious father, seek some mental resolution within himself, and to possibly turn him over to the police.

This is a good little film that was made in late 2001 and - as of the date of this review - has not been released in the U.S. It is especially of note as being Charlton Heston's last movie, just before he announced publicly that he was experiencing symptoms of Alzheimers. While Heston may seem wrong for the part to some upon first thought, he actually turns in a fine last performance and is completely convincing as the complex German doctor. Thomas Kretcshmann is acceptable as his disturbed son, and F. Murray Abraham is his reliable self as the lawyer defending the survivors of Mengele's crimes. It's not an exceptional film, and I had to watch it twice in order to be sure of the back and forth time switching, but I came out satisfied. It's certainly recommended, particularly for fans of Chuck Heston. *** out of ****