Adiós a Lenin

This was a good film, and I think it needed to be made. A way of life disappeared in Europe, perhaps forever, and it seems appropriate that the fall of Communism has thus been documented.

The basic premise of "Goodbye Lenin" is that the young man's mother is in a coma over the months when the Berlin Wall is coming down. She wakes up (oblivious) in united Germany, but as she is so fragile she cannot be allowed to know that everything she held dear has collapsed. What ensues is a comic and moving scenario - her son does his best to pretend that nothing has changed.

Yes, the movie is a little drawn-out. And most of the comedy is lost on non-Germans, or those unaware of the political climate in the region. However, there are clear universal issues to be considered; idealism, hope, family. There is one particular scene which I thought encompassed exactly how the main protagonist feels - he is at a bank trying to change his mother's old East German currency into Deutschmarks but the deadline has passed. He becomes aggravated by the sheep-like behaviour of his peers. After all, this is their culture being crushed by McCapitalism, but their individual vaunting ambition blinds them from doing something about it. Very refreshing to see this on the big screen.

All in all, "Goodbye Lenin" is a nicely-rounded statement of where the European film industry is heading, and it will appeal to most independent-minded people on both an artistic and political level. 8/10.

Last night I watched it for the second time. I'd seen it at the cinema two years ago, then last night my boyfriend, who hadn't seen it, decided to rent it. I loved it first time round, I loved it second time round, maybe even a tad more than I did originally. With wonderfully engaging characters all round, the film is endowed with a great sense of humour, both visual and verbal (and those Europhobic old Brits keep going on about how the Germans have no sense of humour!), it's socially relevant yet easier to watch than a straight comedy. The script is intelligent yet accessible to anyone, even a shallow teenager with no attention span whatsoever... yet IT is never shallow. And most of all, it's a deeply moving little gem of a film which however never abuses its secure grip on the heart-strings. I could see even my boyfriend was dewy-eyed at some points! And so was I, even more than two years ago. A small but perfectly formed film, it's actually not as small as one might think at first impact. Love (specifically, filial love) is its main theme, treated in a schmaltz-free, fresh, non-superficial and a non-clichéd manner.

I must say, people who haven't lived in one of the socialist countries can watch this movie, but they will never really understand it. Who hasn't personally experienced the fall of socialism, will never understand the mixed emotions that this film reminds viewers from Germany, Hungary, the Czech Republic, Slovakia, Poland, and other ex-socialist countries of Eastern and Central Europe - the euphoria of freedom (but also the hardships our countries had to - and still have to - face) and the nostalgia for some aspects of life back then before 1989... So, I must say, I just loved the movie, but not because it is a particularly good one, but because it evokes such powerful emotions out of me. In the end, the protagonist comments, that he will always associate the memory of his mother with the memory of an era and a country that no longer exists. I exactly know what he means... I was 9 when socialism fell in my home country, so I belong to the last age group that experienced life in the socialist era. I am one of the last ones who remember what was life like then - and I don't regret that at all. In fact, that is a really emotional memory that I have, and I am proud that my country helped to remove the first brick from the Wall... Finally, let me recommend a similar film from Hungary - Moszkva tér (Moscow square)...

I didn't have too many expectations for this film. My partner pitched it to me as a comedy, and I hadn't seen the trailer in a while so I went into thinking that's all it would be. Instead, it really was a sublimely sophisticated film.

I had the good fortune to see East Berlin first in July 1989 (there was *ZERO* hint that the wall would be down in 4 months) and then in February 1990. It was an amazing before and after, and I thought this film captured this very well. As a visitor to the East for several months that year, this film really brought back to me the East European Quiet Revolution when everything really did change.

The characters going through that change are of course an allegory for the changes all around them- '40 years gone! They sold us up river!' says an old man who represents those who 'lost' in the reunification contrasted to those who won-the youth. Similarly, the contrast of personal re-unification (the children and their father) vs that of the east and west is a wonderfully treated theme through the film…. And of course lies. Lies to comfort us, lies to deal with other lies. A very, very touching film.

The destruction of the Berlin Wall in 1989 was a historically significant event not just for the people of Germany, but also for much of the rest of the world. Aside from reuniting two vastly different political systems, this remarkable incident marked a turning point for the capitalist uprising occurring within many of the other socialist states. Filmmakers worldwide have since explored the causes and effects of the German Reunification, and even today, they continue to bring new insight and a fresh perspective to an event that occurred nearly fifteen years ago. Wolfgang Becker's GOOD BYE, LENIN! is among the most recent of such films, and probably among the best of them as well.

Rather than charging head-on at a specific political standing, GOOD BYE, LENIN! uses carefully controlled satire to poke fun at the absurdities of both communist and capitalist societies. And despite criticism from gung-ho supporters of either system, Becker is careful not to take sides or appear sympathetic toward any political institution. Instead of concentrating exclusively on the governmental changes of the newly reunified Germany, he wisely opts to narrow his focus on the effects that these changes have on one particular Berlin family. By doing this, Becker is able to show the challenges of adapting to a new, unfamiliar way of life in a context that is much more personal and easier for the viewer to identify with.

The humor in GOOD BYE, LENIN! is plentiful, and Becker takes advantage of every possible opportunity to fit in a comedic moment. Even during the most somber parts of the story, the film never lets go of its astute sense of humor; and because the humor is always thought-provoking and cleverly executed, it never feels forced or gratuitous. The running joke about Alex's unremitting quest for Spreewald pickle jars and the scene where Alex's bedridden mother is perplexed by the Coca-Cola banner hanging from the building across from hers' are brilliant examples of the movie's sharp, yet sensitive wit. Aside from just being funny in themselves, these bits work doubly well because of their uses of symbolism and metaphor. The Spreewald pickles, now impossible to find because of the fall of the GDR, are representative of the `good old days' when Alex was familiar with the ways of his country and when his mother was in good health. His almost frantic search for them shows his longing to return to the way things used to be. Likewise, the unfurling of the Coca-Cola banner is the perfect embodiment of all the capitalist changes occurring within the new Germany. Once you begin to see the Coca-Cola and Burger King logos, you know that capitalism has truly grabbed hold and that there is now no escaping its embrace, for better or for worse.

GOOD BYE, LENIN! makes great use of this type of imagery to emphasize the country's transformation and to provide insight to the emotions of the main characters. A most notable instance of this is the scene where Alex's mother, a staunch supporter of socialism, finally leaves her home to a very different East Germany than the one she remembered. She then looks to the sky and sees a helicopter airlifting a statue of Lenin off the top of a building. As Lenin is being hauled away, his outstretched arm seems to be reaching out to her, as if he's calling out for her to rescue him and his ideals, and restore her beloved country.

Alex's complex lies and meticulous attempts at preserving the past for his mother are innocent enough at first, but eventually they begin to take on a life of their own. The lengths he goes through to maintain the atmosphere of a bygone era and keep his mother happy are indeed funny, but they are also very tragic as well. Though the lies do work temporarily to keep his mother oblivious to the events outside of her apartment, they also plunge Alex and his family into such a deep pool of deception that they eventually lose their closeness with one another. The stress of keeping up the façade becomes unbearable for Alex, and at one point he even wishes his mother were dead.

Other humor was purely cultural, and probably only appreciable by people who have actually experienced the Reunification. I noticed this only because of the native German family sitting in front of me at the theater, laughing in unison at dialogue and images that didn't look to me like they were meant to be interpreted as humorous. But still, even though the older generations of German people are likely to get more out of this movie, it is still a hilarious, heartfelt, and incredibly rewarding experience for people of all cultures and ethnicities.