Führer Ex

My title above really says it all.

The film is as outstanding as is "American History X." The young lead is also. As was Edward Norton of course. The theme is very similar, and just as well developed... Characters include the older man with Neo-Nazi ideas leading young people with little or no father figures stray, the protected or protective brother figure, the strong mother figure, the jail scenes with all the violence to be expected. The list of parallels is endless.

Yes, you may have seen it all before. But this flick is worthwhile. Face it - the topic perhaps does belong more to Berlin (need I say it -the birth place of Neo-nazism) than to Los Angeles. And the Germans have finally made a film about a culture they originated, which is outstanding in many ways.

The inside look at the old GDR (East Germany) is very informative, and well told to non-Germans. Germans may think otherwise of this recurring "East German" theme, a staple plot setting in German cinema for the last 12 years with no end in sight. But even if that is old to you, there is so much to appreciate in the movie that it will not disappoint. Certainly, the lead performance by the Berlin teenager (age at the time of filming anyway) is chilling, and impactful. We watch, accompany and feel his transformation intimately. In my last comparison with "American History X," I assure you the lead in this movie is every bit as dense and intense as Edward Norton was.

Too bad it has not been shown (yet, perhaps) to more international audiences. I saw it in late October 2002 at the São Paulo Film Festival. I do definitely recommend it (my rating 10/10). See this one on the big screen when it comes your way.

This may be an unfair comparison, but take the elements of male friendships and self- discovery from Trainspotting and add the pacing, violence, frustrations, and relationships from Romper Stomper, and you'll get a feel for what this excellent film is like visually and sensually. A worthy round of applause to Director Bonengel and Actors Blumel and Hildebrandt and crew. Especially noteworthy, from an American perspective, is how powerfully and unapologetically the frontal nudity scenes were done in the prison. (American directors and film stars are cowards in comparison when addressing themes of such violence, sexuality, pain and need.) The directing, filming, lighting, acting and editing perfectly highlight the powerful aggressiveness and absolute vulnerability of the characters in a way that does not betray the craftsmanship that went into the production. Kudos to the entire team of Fuhrer Ex. The film is emotionally charged: uncomfortable, painful, tender, funny, and exciting. Highly-recommended.

definitly the worst film i've seen in years. don't be impressed by the subject of the film. the audience at the preview was either in hysterics on the floor from the incredible bad acting, or they left beforehand in disgust at the shabby treatment of the story. imagine one of the best stories you ever heard - in this case a true story - and now imagine the worst tv treatment - then you're not halfway there. the worst acting, boring, totally unrealistic (how did they manage to do that i don't know), unbearable dialogs...i could go on. i beg you not to see it. it's an offense to any thinking person, and totally gives a wrong image of what and how east berlin really was. the saving grace is one of the leading actor he deserves better and is - hopefully - a star in the making, and no it's not the blonde...:-)

Do you want to make a film? A german film? Well, let´s take the old GDR, put some Neonazis in it, add some people who want to leave the GDR and get jailed. All in all take every prejudice you can find about these topics, mix it all up, and crochet a far-stretched story around it. Et voila! Still want to see the film? Take beer with you. Or wine. Or both. Lots of it. Then the film might be OK.

Führer Ex is a challenging, harsh, and intensely involving tale of the course of friendship of two young lads living in the 'prison' of Communist East Germany in 1986. Based on fact (Ingo Hasselbach's book 'Die Abrechnng' adapted for the screen by Douglas Graham and director Winfried Bonengel), this story relates the changes that occur in the close friendship of two boys torn by the confinement of the East German Communists vs the Western freedom of West Germany and the countries not under Communist control. It informs us about that transition with the fall of the Berlin wall and the subsequent adjustment to the new form of life East Germans found beyond the crumbled wall.

Heiko (Christian Blümel) is fair-haired, virginal, nice guy who longs for adventure (and more) with his idolized friend Tommy (Aaron Hildebrand), an edgy guy unafraid to get into a bit of trouble (Tommy is arrested for a minor crime and is released from jail shaved and tattooed). The two dream of escaping their rigid lives and fleeing to Australia. Tommy talks Heiko into running the risk of actual escape and together they break through the wires and walls that confine them but are apprehended in their attempt and sentenced to prison in a cruel Communist prison where they are separated, Tommy joining a 'neo-nazi' group and Heiko falling under the 'protection' of a fellow prisoner who eventually rapes him. The two finally are able to talk and plan a mutual escape, hopefully placing themselves in boxes to be transported to freedom. Tommy succeeds; Heiko doesn't and remains in prison.

Flash forward to 1989 and the Berlin wall is down. Tommy is living a comfortable life in the new Berlin and encounters Heiko in a true Neo-Nazi meeting that Heiko is leading. The tables have turned - Heiko is the miscreant and Tommy is the good guy. Convinced that Tommy is a traitor to the ideals of Heiko's political interests, Heiko surfaces all of the hate that brewed in prison and is focused on unjust governments. An event occurs that alters their friendship and Heiko is forced to see that varying political climes and convictions pale in the value of treasured friends.

The film is well paced and the acting is excellent. There are gaps in the script storyline that result in some confusion for the viewer, but the overall impact of the 'biopic' nature of the movie is powerful and deserves attention. It is particularly fitting that this film comes out of Germany, as though it may be a purging of sorts over the initial division of East vs West Berlin. And forgetting about the political aspects of the story, this is a powerful document on the importance of commitment to long-term friends. Recommended. Grady Harp