Les faussaires

This is the rare - and by that I REALLY mean rare! - case of an Austrian movie being able to bear comparison with international competition. "Die Fälscher" is a well-made and touching movie about the Holocaust and a special division of Jews in a concentration camp that survived by counterfeiting money (or pretending to do so) for the Nazis. Karl Markovics is the shining light of the cast. Who thought that the guy who came to greater popularity by starring in "Kommissar Rex" would end up getting roles like this one and playing them to perfection? August Diehl is good, too, but he comes across as a bit too dramatic at times. The Nazis - and that's the only weakness of Stefan Ruzowitzky's movie - are the way they always are. Ruthless, cruel, craven and at the same time stupid pigs who do everything to humiliate the Jews at any time. Even though, that is probably the way 99% of them really were, it would have been more interesting to get a differentiated view on some of them.

While "Die Fälscher" may not reinvent the wheel, it is a pretty great movie. And although it's typical that Hollywood would pick only a Holocaust-story from Austria as an Oscar contender, it is exciting as hell for a movie from this country to get a nomination. I really hope that Stefan Ruzowitzky will get the award, because his movie deserves it and it could help the Austrian film industry to finally get momentum again.

I don't go to the cinema much these days. Even sitting through the previews before I saw this I was beyond bored, even though Meryl Streep was in two of them, even she's in boring rubbish these days.

But, 'The Counterfeiters' is classy stuff. The Austrians (as well as The Germans) are excellent at making period films (masters at detail) & when they handle the subject of The Holocaust, the few things I've seen, have been superb.

Everyone's good in this. The lead is hypnotic.

If the subject of The Holocaust interests you, don't hesitate seeing this. It's a very good film indeed. It's nice to see something brand new that you can confidently call a classic.

This is about the Nazis, trying to produce false pounds and dollars in the concentration camp of Sachsenhausen. The aim is to destroy the British and American economies. For this purpose, they use Jewish experts, who have their privileges, like clean sheets, classical music, showers and the possibility of not being murdered.

It could have been just another Nazi movie, but many ethic questions are raised. What is treason and can you possibly survive without it? The drama between the Hauptsturmführer and the main character, Sally, is described in an interesting way, not at least because of the brilliant acting from Karl Marcovics.

Being in concentration camp, are there any more questions than surviving the next day? Obviously there were.

I thought the film was excellent on a number of grounds; the acting by the main players was uniformly good,I suppose one could carp about the main Nazi in that it was the traditional mixture of ' jolly fine fellow when out of uniform and with blonde wife and children but nightmare when faced with the Untermenschen in the camp'. The main actor was unknown to me and something of an anti-hero but the gradual emergence of his positive sides was well done.The concentration on life in the special part of the camp where only the sounds of shouts and gunshots penetrate was very well portrayed and the entire film gripped me from start to finish. I suppose there were no amazing revelations apart from the basis of the story but that was more than enough and I recommend it highly

Salomon "Sally" Sorowitsch (Markovics) is a master counterfeiter, living a life of debauchery in pre-war Berlin, until his luck finally runs out, and he is captured and shipped out to the Mauthausen concentration camp. He witnesses the horrors of camp life; fellow prisoners are beaten, shot, and starved, but Sally, determined to survive, looks out for himself and uses his skills as an artist to secure a more comfortable lifestyle during his incarceration. After taking advantage of his talents, his superiors transfer him to Sachsenhausen, where he is to oversee the largest counterfeiting operation in history.

Here, Sally is provided with all the men and equipment he needs to crack the pound and the dollar; his criminal enterprises are now government funded. The price of failure is made clear, but the counterfeiters are also wary of the price of success, as once the currencies have been cracked, they will be surplus to requirements; their lives depend not only on their successes but also their failures.

This is where Burger (Diehl), the film's moral centre, comes into play. Unlike Sally, he sees the bigger picture, struggling to come to terms with the fact that while his work keeps him alive, it helps the Nazi war effort. Neither can he reconcile himself with the fact that while he lives in relative comfort other detainees, including his wife and children, live in squalor.

These moral dilemmas form the basis of the film, and in the face of the horrors of camp life, Sally tries to shrug them off with De Niro squints and smiles; the maxim that one must look after oneself is one repeated throughout the film. It's a very interesting idea, and it's one that is presented very well, both in terms of style and performance. The camera-work captures the bleak setting effectively, and the lead performances are uniformly excellent, but the use of tango for the score is inspired. The contrast between the music and the images adeptly complement the film's complicated moral tone. There is also a surprising amount of humour; while the bigger picture is indeed bleak, there are moments of comedy, and even if it is laughter in the dark, it is welcome and helps not only to carry the film along but humanise it and its characters.

The Counterfeiters is a very enjoyable film, which isn't something that can be said for many World War II "true stories". Its interesting exploration of adaptation and survival under extreme circumstances makes for an engaging story, and one that is definitely worth seeking out.