Taking Sides

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.

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.

I came to this film with a detailed knowledge of the actual historical events. Many viewers will most likely be largely unfamiliar with the complexities of the case, and there are some details which are important, but glossed over.

For example: there are frequent references in the dialogue to Furtwängler's rival, Herbert von Karajan ("Little K.") Why did the Americans attack Furtwängler, and not von Karajan, who was an ardent Nazi? Furtwängler was prevented from conducting in the U.S., while von Karajan was lionized. Perhaps the makers of this film thought that the implications of this were too big to be discussed in the film. I'm sure that they didn't even want to go near the fact that the people who ran the de-nazification program were Americans with close ties to the Nazis themselves.

Also, Furtwängler's rationale for staying in Germany was somewhat more philosophical than the film implies. He thought he was defending the legacy of Mozart, Beethoven et al against the Nazis, and that this was a sacred responsibility. A bit of this comes out in the film, but in a superficial way.

With respect to the success of the film otherwise, Stellan Skarsgaard is excellent as Furtwängler, even managing to resemble him somewhat. I think that Harvey Keitel is somewhat hampered by the script -- the film would have been more successful if Keitel had come off as more conflicted and less one-dimensional. Clearly the director wished to imply that Keitel was conflicted, but that, as a military man, he was required to toe the line -- the frequent shots of Army indoctrination films (about how bad the Germans were) were intended to provide a rationale for Keitel's behavior. But the film would have been more compelling if Keitel were given an opportunity to express more doubts about what he was being asked to do. I also thought that the ending was a bit anticlimactic.

I've read the reviews posted here and they all present HArvey Keitel's character as being the ignorant, simplistic American. I don't see it that way. I think Keitel plays the role as a non-European -- that is, as not "sophisticated," not "polished," not polite, playing the whole time with the cultural link between stereotypes of "european" and "intelligent." I think the contrast between the army major (and former insurance salesman) and the German conductor is between two ways of being smart, being honest, and being good. The movie plays deliberately on the stereotypes of superiority, and I am surprised so many of the reviewers accepted the images at face value, especially when one of the underlying themes was the idea of German superiority.

But, as another person here has said, one of the great things about this movie is that it will start arguments.

One of the characters who understands best the great conductor Furtwängler who is the principal hero of 'Taking Sides' is the Soviet colonel Dymshitz. Dymshitz is a curator at the Hermitage museum in his civil life, and besides being a man of culture he also understands too well the compromises an artist must make in order to continue to survive as an artist and as a human being under a dictatorship.

This is actually one of the central themes of the work of director Istvan Szabo. In 'Mephisto' and 'Hanusses' he was also dealing with the Nazi era, but by telling WWII stories the Hungarian director does nevertheless talk also about all dictatorships, or specifically the Communist rule he knew directly.

The action of the film happens after the war, when Wilhelm Furtwängler, one of the greatest directors of the century stands on trial in a denazification tribunal for his cooperation with the Nazi regime. Despite many of the great musicians of the era he did not live Germany, he played for the Nazi dignitaries in Jews-free orchestras, and his opposition to the Nazi regime is unclear. He was not a Nazi party member, and he intervened to save lives of Jewish musicians, but yet was used a propaganda tool until the very end of the war.

The balance of the movie lies in the balance of the superb acts of the two principal actors. Harvey Keitel plays the American prosecutor major Arnold, while Wilhelm Furtwängler is played by the Sweidish Stellan Skarsgård. Arnold is the opposite of Furtwängler in almost any plane. To his moral superiority enhanced (maybe not necessarily) by filmed reports from the death camps is opposed Furtwängler's ambiguity and doubts, but his rudimentary culture is no match for the European refinement of the director. Keitel gives a strong act, maybe a too strong one, as his rudeness opposed to the doubts and maybe remorse of the German seem to give to the musician a postume and probably not deserved absolution.

The last scene shows Furtwängler living the building where the interrogation happened in the sounds of Beethoven's Fifth. The director switches to a real filmed concert with the same music, at the end of which Furtwängler shares hands with a Nazi dignitary (may have been Goebels, the Nazi minister of propaganda). The he is shown (twice, once in close plan) wiping his hand as in some kind of cleaning act. The question remains if a handkerchief is enough to clean somebody who shook hands with the Devil.