Mephisto

Another disturbing film about the complicity of ordinary people in fascism, which explores similar territory to "Cabaret", "The Conformist", "The Leopard" and "The Remains of the Day". It argues that fascism demonstrates how difficult it is to separate one's public and private roles and beliefs from politics. The title character, an actor, starts to realise how his "make believe" public role has very real, tragic consequences. In this sense, the film has merit beyond its superb acting and other technical features: it subverts the liberal pieties of Hollywood drama which resolve all conflict within the confines of the existing social system. It undercuts the banality of much film criticism which says it is "just entertainment" with "no subtext"- as if produced in a social/historical vacuum with no point of view. In short, the film argues that artists, like everyone else, have to take some responsibility and assume a critical role or risk being haunted, like Mephisto, by the awareness that they have become pawns in a dangerous game.

...and be careful what you wish for. A German actor, in the 1930s, against best advice and with only himself in mind, continues to pursue his thespian fantasies while his friends and colleagues flee.

This was a superbly acted and visually stimulating film.

The most interesting element for me was Hendrik's refusal to allow his conscience to interfere with his life's work as an actor. Being an actor, and more importantly an actor able to act in his mothertongue in his own land, is all to this man. Initially indifferent to the rise of the Nazis, unable to accept that their government will change his life, he follows them and befriends a high-ranked Nazi so that his "art" might continue. But it can never be as it was before. Yet he continues to do as he is told, to use the theatre as a propaganda medium, without questioning the consequences.

He cannot admit to himself that he has made the wrong decision and even when he is in Paris and is presented with another opportunity to escape the Nazi regime, he returns to Germany to the pursuit of his theatrical life, no matter how restricted it is.

Excellent film with a very good lead performance.

This film faithfully recreates the novel written in 1936 by Klaus Mann. It is a reflection of the age old temptation of Man, the story of Goethe's Faust. Karl Maria Brandauer is magnificent as Hendrik Höfgen, the obsessed "actor" who will do anything to gain wealth and fame. He first betrays the world around him, and then his inner values are swept away as he finally enters the inner sanctum of Nazi Germany. Is true theatre on stage or in the handshake that Höfgen makes in the prime minister's box behind the audience? Everything in this movie revolves around Höfgen's downward spiral into the abyss; the initial ascent to stardom was but an illusion. Mann instinctively knew that tragedy would befall his country when a pact was made between Hitler and the financial, industrial and military élites of Germany - remember the book was written nine years before that country's downfall. View the movie and read the book. Two truly artistic achievements! Thumbs up to István Szabó and K.M. Brandauer who managed to reveal everything in Höfgen's character.

Klaus Maria Brandauer, the celebrated German stage actor, is not really a big fan of cinema. Largely unknown to cinematic audiences, he made a big splash with his debut Mephisto.

Mephisto is the ancient legend of the man who sells his soul to the devil in return for worldly gains - as told by Faust. Klaus plays a Hamburg stage actor famous for his portrayal of Mephisto on stage. Flirting with socialism, he embraces the leadership of the Nazi party in order to move to Berlin and rise in the theatre hierarchy. He does rise and continues to ingratiate himself with the Nazi Generals and Prime Minister and rises to the very top where his full oratorical abilities can be displayed. He also shows a complete lack of self respect or conviction for anything but his personal worldly success and power - which he does use on occasion to save less favoured colleagues.

Klaus has given a remarkable performance in this film - all physicality. Throughout much of the movie he is poker faced and relies on his hands and his body to express himself fully. Its a very unique, one-of-a-kind performance that makes this film so watchable. The narrative itself is chopped and may sub-plots are introduced then cut short.