El listón blanco

Few film auteurs can match the consistency of Michael Haneke, and once again the Austrian filmmaker has come up trumps with an exquisite and brooding mediation on repression, tradition and the sins of the father.

Shot in stunning black and white, the film chronicles a series of mysterious events in a town leading up to the outbreak of WWI. The pace is slow and thoughtful, and the film is reference to August Sander while being a respectful throwback to the German expressionists whose work would come out of the horrors the film's narrative seems to foreshadow.

The hallmarks of Haneke's body of work are all there – elegiac tone, clinical editing, wincingly frank dialogue – but in many ways The White Ribbon stands alone in the canon. It is a challenging work that will polarise audiences but represents a breathtaking new wave not just in the director's career but in European cinema.

Some might say the film's inherent flaw is that there is no-one to root for, but this is perhaps its key strength. It's certainly plausible that this is Haneke's intention: he wants to position us as mute outsiders to a slowly creeping menace, unable to have a say in the invisible horrors that await us. The result is a deadening and thoroughly rewarding experience - a combination few filmmakers could hope to achieve.

El listón blanco (2009) is a desperately dark story unfolding in a Protestant village of northern Germany just before the First World War. This microcosm is composed of a baron, a pastor, a doctor, ... and the plebs. Strange accidents will succeed one after the other, some worthy of a despicable barbarism, and will gradually pertain to a punitive ritual. The film is based on a few abject characters and Michael Haneke masterfully films the darkness that ineluctably infiltrates the hearts of the fellow citizens from this German provincial environment, thanks to an aesthetic apotheosis and a cinematic sobriety. As a synthesis: El listón blanco (2009) is a masterpiece. 8/9 of 10.

White Ribbon focuses on a pre World War I German town and surveys the evolution of violent, wild incidents resembling punishments indicted on certain individuals. We are provided access to the story from the point of view of the town teacher, whose recollective voice-over interposes throughout the film. The narration competently obscures the culprits, thereby attributing the responsibility for the rage, and its (hypocritical) social incorporation to the whole society rather than certain "abnormal" characters.

In movie circles,White Ribbon is widely regarded as depicting the evolution of a microcosm of a proto-fascist society (which is to a certain extent viable by the way). However, the movie is a less Germany-specific and more universal parable on the socialization of rage and violence, on the evolution of the social circulation of rage and violence. The film follows a route from local (Germany) to universal, coming up with far reaching arguments, just as Foucault focuses on 18-19th century France and presents arguments on the evolution of prison and punishment systems.

Considering Haneke's entire filmography, it is evident that the director has always been interested in philosophical takes on pschology and human interaction, without historicizing his filmic arguments strictly, i.e., without attributing time spans/societies to them. If we leave the mediocrity of the enterprise aside, Haneke's recent remake of Funny Games shot-for-shot, yet in a different society (USA rather than Germany) fittingly illustrates the point.

After a span of work disappointing for many Haneke fans, the auteur returns with an influential and aptly argumentative film.

Fans of Michael Haneke's more morally shocking films such as 'Funny Games', 'Benny's Video' or the draining 'Time of the Wolf' might find themselves surprised by the quieter and slower analysis of evil in his latest work 'Das Weisse Band'.

The action takes place in a North German village shortly before the outbreak of the First World War and in structure presents a number of subtly drawn individual characters as they are caught up in a mysterious series of violent events.

In the hands of a mere moralist this could be an unbearable few hours. But it's credit to Haneke's skill as a film-maker that we are utterly caught up and absorbed by a large cast of children and adults.

One of the on-going arguments in Haneke's films appears to be the origins of human evil, or perhaps more precisely put, individual acts of evil behaviour. Are such acts an individual's responsibility or do they spring from a climate in which particular energies are at work? This is the question Haneke appears to be exploring here (just as was a central question relating to French society in 'Cache').

One of the most disturbing things at the heart of the film is the fact that we do not know why particular acts of evil take place (including the maiming of a disabled child and the beating of a nobleman's son), or even who commits them. However, this is no 'whodunnit', although with its retrospective voice-over from the School Teacher's p.o.v. we are let to believe for a long time that were in a crime/thriller genre.

Throughout his body of work so far, Haneke has suggested that looking for the sort of easy answers films and TV all too readily supply is partly responsible for our misunderstanding how violence in society occurs. (Funny Games).

'The White Ribbon' bypasses the usual dramatical devices of motivation and blame and instead softly focuses on an environment (in this case Germany in the first quarter of the Twentieth Century) in which certain unhealthy energies are at work.

These energies include an emotionally repressed and joyless Protestantism, the mistreatment and oppression of women, the familial abuse of children, the fetishism of strong masculine and patriarchal values, and the un-breachable divide between the rich and the poor. Set over all this, like an umbrella, is the fact that the small provincial society depicted in the film is all but completely isolated from wider society.

Another poster here has pointed out that Haneke is using his village as a microcosm to reflect Germany as a whole, and I would agree with that. Haneke's Dorf, whilst having an individual character, is a relative of Von Trier's Dogville in the sense that it stands for a larger set of national values. In this respect Haneke seems to be diagnosing German society in the run up to the 'Great' War as one of authoritarianism, religious doubt, intolerance, and fear.

What is remarkable in such a film is how little human joy or love is to be found in such a seemingly idyllic rural landscape. The love strand (between the narrator Teacher and the dismissed 17 yr old children's nurse) has a rather strained aspect. It is as though the film maker is suggesting that affection might also be down to available opportunity.

One of the most moving scenes in The White Ribbon is when a young child brings his father, a Priest, a caged bird he has nursed back to health. The father's beloved pet canary was killed (by his daughter as a protest against the bleak, loveless household she's been reared in - a home in which a father shows more affection to a small bird than his own children.

Thus the scene symbolically depicts a child demonstrating the love that the parent himself is unable of showing. Tears fill the priest's eyes. It is a tiny moment of love and hope in an otherwise emotionally barren wasteland. It is also a symbol of how a new generations of Germans have dealt with, and healed, previous decades of pain.

In an interview with the French newspaper "Le Monde" on 10/20/09, published on 10/21/09, Michael Haneke has explicitly and unequivocally declared his intentions in making the movie "The White Ribbon":

He intended to make a movie about the roots of evil. He said that he believed that the environment of extreme, punitive and sexually repressive protestantism in Germany, has laid the groundwork for Fascism and Nazism. He also said that he saw the same patterns developing in fundamentalist Muslim societies today, and that it is those societies that today were spawning terrorists and suicide bombers. Finally, he expressed the sentiment that "The White Ribbon" is a movie against ALL extremisms.

Michael Haneke has directed his vision in a very masterful and artful way: the cinematography, the acting, and the script are all superb.

The only problem I have is with the vision itself: The environment certainly plays a role, but to explain evil exclusively as the product of one's environment is simplistic and goes against common sense observation: The majority of people on this earth have grown up under repressive regimes and yet have NOT turned out to become murderers, mass murderers, terrorists or suicide bombers. Something is missing in the equation.