Amen.

Thoughtful and brooding film with excellent interpretations and horrible events . The picture talks an officer Gestapo named Kurt Gerstein (Ulrich Tukur) in charge of Zyklon B , a deadly chemical gas used for killing Jews in the death's showers from concentration camps as Treblinka , Sorbibor , Auschwitz , Majanek , Manthausen ,.... , Gerstein contacts a Jesuit priest (Mathieu Kassovitz) who's related to a Vatican Cardenal (Michael Duchaussoy) and his father results to be Pope's assistant . He denounces and explains Pope Pio XII (Marcel Iures) the situation of the Jews's genocide .

The pic is correctly based on historic deeds and famous personages as Pio XII and Nazi chiefs who don't appear in the film but they're continuously named as Goering , Goebbles , Himmler , Eichmann ,thus as notorious events as Stalingrado (1943) where Nazis have the first important defeat and the bombing strikes over the Germany cities (Berlin , Dresde) . The movie is based on a play by German playwright Rolf Hochhuth which started a lot of heated discussions and arguments after its first release in 1963. The film blends drama , tension , historical events and in spite of the runtime is two hours and some isn't boring , nor dreary but happens enough interesting deeds . The Vatican did not give a permission to shoot the film in their buildings. After searching a scenery of adequate size for the scenes taking place in the Vatican, Costa-Gavras finally chose Europe's largest building, the House of the People in Bucharest . Some of the outdoor scenes were shot in Mogosoaia Palace, some fourteen kilometers northwest of Bucharest. The movie attained quite polemic but there's an accusation to Catholic Church for passivity on the crimes and mass slaughter . I really think that didn't have but lack of forecast . The motion picture was well directed by Constantine Costa Gravas who at all his films always gets controversy and dispute . Rating : Above average . Well worth seeing .

The film offers an open-ended answer to this popular question. It begins with a graphic portrayal of the Nazi euthanasia programme which killed 50,000 'mental defectives'. This links us to the main protagonist, Kurt Gerstein, an SS scientific officer who develops the Zyklon B gas which allows mass-murder of Jews and Gypsies to proceed on an industrial scale. Gerstein's niece is a euthanasia victim. Gerstein is a committed evangelical Christian with an anti-Nazi past who normally would not be allowed into the SS. Gerstein's father is an enthusiastic Nazi who pulls strings to get his son into the SS, presumably seen as a safer option than the army and also as the elite corps of the Nazi state. Entirely plausible, as many evangelical Christians became enthusiastic Nazis. Gerstein's expertise in developing water purification and anti-typhus procedures for the German army allows him to prosper within the SS, despite his multiple treason.

The murder of his niece and the Jews appalls his Christian conscience. His wincing reaction whilst looking through the gas chamber spy-hole is well-acted. He alerts the Swedes and the Catholic Church, hoping that international pressure will awaken the German conscience. Catholic opposition has stopped the euthanasia programme and this can be mobilised to help the Jews.

In reality, Gerstein's options are limited. His own church leaders react mutely to his news of mass-murder. They caution restraint. Nazi indoctrination is trying to turn everyone into a rabid anti-Semite - as shown comically with Gerstein's youngest son giving annoying Hitler salutes. Most Protestants agree to join the new Nazi-sponsored 'Reich Church', happily reconciling faith with Nazism. Similarly, the 1933 Concordat with Hitler gave the Catholic Church a precarious protection as long as it stayed out of politics.

Carpet-bombing of German cities is killing women, children and babies. German forces are engaged in a titanic struggle against the 'forces of international Jewry ' - Russian Communism and American Capitalism. Facing this kind of mind-set and mass paranoia, the Jews needed a miracle. Saving mentally-handicapped members of German families is one thing. Saving a long-despised race thought to be the root cause of every world problem is very much another.

Gerstein's attempts to alert the Vatican are channelled through an invented character, a young Catholic priest who symbolises the conscience of thousands of individual Catholics who risked their lives to help Jews. He eventually sacrifices himself at Auschwitz, a Christ-like figure who 'redeems' his religion in the face of a terrible evil.

The controversial Pope Pius XII is portrayed in a curiously anodyne way - to the distaste of those who regard him as a Nazi sympathiser. The Vatican's fear of Communism, its efforts to hide Italian Jews and its self-preservation instinct in facing the Nazis are all clearly demonstrated. As is the help it gave to individual SS men on the run after the war. One is left to make up one's own mind about the Pope.

In truth, neither the Church nor the SS were monolithic organisations. Both were composed of individuals, good and bad. One reason for death factories was to save SS men from the horrors of mass-shootings. They offered a 'sanitised' method of killing, just as the 1933 Concordat offered a sanitised way for Nazism and Catholicism to relate to each other. Problems arose for individuals who had to make moral choices in carrying out these policies.

The controversial Roman lunch scene depicts the American ambassador discussing the fate of the Jews with Vatican big-wigs. Against a wonderful panoramic backdrop of the eternal city, they enjoy an excellent sea food meal. The American points out that finding an alternative home for millions of Jews would cause great problems. Nazi retaliation would only make things worse, counters a Vatican big-wig. A far cry from the cattle trucks rolling to and fro, emptying Europe of its Jews. This is a 'cheap shot' - decision-makers usually enjoy better material conditions than the rest of us. One can imagine Churchill discussing sensitive topics in a cold-blooded way over many a fine meal. It makes for good cinema, though!

This is an excellent film which covers a vast topic in 2 hours. It does not make judgements about Gerstein or the Christian churches. The Gerstein character is a complex one as is the Christian response to the Holocaust. It shows how difficult it is to 'buck the system' during wartime. Gerstein arrives at Auschwitz with the comforting knowledge that the allies 'never bomb the camps' - they know they are full of 'POW's'. Would prolonged bombing of the railways to the death camps have made a difference? Many Jews believe that this could and should have happened.

Should the allies have re-directed their military efforts to save Jews rather than merely fight the Nazis? Unfortunately, the 1930's and World War 2 had de-sensitised people to civilian suffering - newsreels from China, Abyssinia, Guernica; the Nazi bombing of Warsaw, Rotterdam, London, Coventry, the V1 and V2 attacks of 1944. World War I blurred the line between soldiers and civilians. World War 2 completely obliterated this distinction - on both sides of the conflict. Axis forces brought death to millions of Chinese and Russian civilians. The Allied bombing of Germany, Japan and northern France all produced heavy civilian casualties. Is there an essential difference between mass-bombing and the Holocaust?

European anti-Semitism aided the Holocaust. The miracle is that so many individual Gentiles did so much to aid Jews. Nazism put new ideas about human rights to the test. Governments and organisations may have been found wanting – especially Vichy France. Individuals - including many brave Germans – responded magnificently. This is the 'positive' side of the Holocaust which we should remember and treasure. Gerstein did his best to sabotage and stop the killing machine he became part of. The film allows us to make up our own minds about whether he and the Catholic Church did enough.

This is a must watch film. It's a complex and controversial story, well written, well acted, and the direction is superb.

The one dimensional nature of the main characters works very well - we see but a snapshot of the complexity of human nature and this begs you to ask the question of what would you do if you found yourself placed in such circumstances.

This is perhaps a trademark of Costa-Gavras's work (Mad City, Missing and Z in particular)

It is not just a cold view of the history of the time nor is it seeking to provide an answer to the big question - just shed light on the circumstances and on human nature.

"Amen," a film based on the largely accurate account of German SS officer Kurt Gerstein's multiple attempts to alert the Vatican to the ongoing highly efficient mass slaughter of Jews and others - for which he bore no small responsibility as a technician facilitating efficient genocide - is well done with excellent acting. Yet in the end Costa-Gravas's film is somewhat unsatisfying and not sufficiently responsive to the viewer's need to know what Gerstein was all about. Why?

"Amen" begins with the Nazi euthanasia program aimed at murdering retarded and mentally ill Germans. A campaign, spearheaded by both Protestant and Catholic clerics and their flocks, forced the regime to end the killings. Some have argued that this sole widespread public rejection of Nazi homicidal machinations might well have been repeated if Germans were alerted - internally or through specific denunciations by the pope and foreign leaders - of the fate of deported Jews and those rounded up in conquered territories. "Amen's" Kurt Gerstein and his priest friend both believe that would have happened.

That argument is at best questionable and, more likely, reflects the human need for the wish to spawn the thought. Whether one accepts the Goldenhagen thesis of mass complicity by Germans in the Holocaust, the fact remains that when the slaughter began Germany was at war and, as a character in "Amen" notes, defending the Reich and winning the war, to say nothing of staying clear of what would be seen as treasonous ideas, was the only realistic option.

Kurt Gerstein is a mystery. As Hannah Arendt wrote of Eichmann as an example of evil's often banal incarnation, historian Saul Friedlander described Gerstein years ago in terms of the ambiguity of good. Gerstein sincerely and at risk to his life tried to warn the Vatican of the Nazi death camps. But he also worked efficiently to make those camps operationally efficient. "Amen's" Gerstein is tortured but also highly compartmentalized. He gives quick and accurate advice to improve destruction of the "units," as the Jews were referred to, and then tries to prevent use of the Zyklon B gas he helped develop with almost unbelievable declarations that shipments are defective and must be buried.

This film owes its origin not so much to Friedlander's compelling account but to Rolf Hochhuth's controversial (still so after many years) "The Deputy," presented as a play to the outrage of many. Hochhuth portrayed Pope Pius XII as insensitive and unwilling to use his moral authority to challenge an extermination program he knew to be in progress.

In the film Gerstein is aided by a young Jesuit priest whose remarkable moral and physical courage was demonstrated by a few, or perhaps too few, clerics who knew what was happening. The pope is shown as a remote, unemotional figure. The now standard explanations for the Vatican's unwillingness to take on the Nazis are included in catalogue format. Allied unwillingness to bomb the death camps or take in refugee Jews are recited almost for the record. Complex questions still debated are reduced to the equivalent of sound bites. They need no repeating here.

Hochhuth's thesis which outraged many decades ago and which still brings angry denunciations has been partially rehabilitated by scholarly works such as John Cornwell's provocatively titled study, "Hitler's Pope," an exaggeration which belies the serious research and analysis within the book's covers.

Cornwell's pope is personally unpleasant, haughtily autocratic, rabidly fearful of Communism, at least mildly anti-Semitic and certainly emotionally and politically pro-German if not pro-Hitler (he wasn't that). The Pope Pius of "Amen" lacks the depth a more accurate and compelling portrayal would have provided.

The strongest moments in the film are those briefly showing the efficiency of the death camps focusing less on the victims, most of whom aren't shown, but rather on the chillingly competent technicians and logisticians without whose efforts millions could not have been murdered.

Director Costa-Gravas deserves much credit for bringing a difficult to tell complex story to the screen. Ultimately, however, we know less about Kurt Gerstein than we need to and the Vatican, from pope to bureaucrat, is too colorless. Was Gerstein a victim or a collaborator with a schizophrenic sense of morality? Even scholar Friedlander couldn't answer that question. Did the Vicar of Christ shame his church's vision of Jesus by putting political expediency ahead of moral imperative? That is a very alive issue today but "Amen" gives us a largely one-dimensional Supreme Pontiff.

The cast is unknown to American viewers but all act with varying but generally strong ability. Gerstein and the Jesuit priest are especially well portrayed as men of deep conviction.

7/10

Very interesting...I do not know how true the facts are, that were presented, but I think the movie is really worth a look. Especially, if we consider that it isn't a typical American movie...of course, that's because it isn't American! A movie that has, more or less, a very significant meaning and moral...we all know about the Holocaust...the terror, unleashed by the German nazi's. The madness of men. And here we have a movie, filmed in Romania, with this theme. A German SS officer, Kurt Gerstein(Ulrich Tukur), finds out about the crimes against millions of Jews. He decides to kind of sabotage the killings, and ultimately ends up, wanting to tell Pope Pie XII(Marcel Iures) about these crimes. He gets help from Riccardo Fontana(Mathieu Kassovitz), a Jesuit priest, in this matter. Riccardo's father is an important person at the Vatican(count) and so, he tries to help them. The story will be sad enough, and it will show the ignorance of the Catholic Church. If this is true, or it is not I can't say. But the movie is special, and touching. The trains have a very important role. Every time I saw them, I felt a shiver through my body, just because of the idea that they might be filled with people. The special effects could've been better. For example, when Riccardo goes to eat with his father and other personalities, you can see what seems to be the Vatican. But it is more than obvious that it isn't true. Of course, this is not very bothering... The music is absolutely perfect! I really enjoyed it, and I don't see who didn't! The actors were good, but there were some flaws, here and there. Costa Gavras, the director, did a very good job here, in creating an interesting movie. Despite the lack of much action, the film is pleasant, but shocking...well, how could it be if we consider the events? I think all should see this movie, especially because it's a good change from the American stereotype.