Joy Division

I hired this movie from Love Film, didn't really know what to expect apart from some 2nd world war action. Five minutes in, I had a big smile on my face, the film is brilliant! If like me, you're a 2nd world war / cold war movie fan - you're in for a treat!

The attention to detail is fantastic, from costume to locations and the realisation of war torn Germany as well as the war's aftermath years later in London is flawlessly executed. It's a non- linear story and fluctuates between the protagonist's experiences in WW2 as well as his involvement in the cold war. It's not all war though and there's a really powerful romantic aspect. I would go into more detail about the story but I don't want to give anything away to anyone who hasn't seen it!

All I'll say is you should definitely get your hands on it!

Oh, and Bernadette Heerwagen is hot - loving the bathroom scene ; )

WARNING! On IMDB this is rated a 15 but on Netflix they give it an 18 It's definitely an 18!

There's not a lot of joy in this film but there is a lot of grit and grime and some uncomfortable scenes. If you're a female it's a tough watch. There are two rape scenes which are longer than they need to be. A third is not shown; probably because the young actor had had enough!! There's also a torture scene which seems to focus on the actors embarrassment more than trying to get information!

As a spy movie it's light weight. It's more a study in Trauma. The Director favours making short sharp cuts to the characters past giving context to decisions made by the main protagonist. I would have liked more focus on espionage but the narrative is more about Soviet-German battles in WW2. It was good to see the USSR portrayed with a mix of races though.

It wasn't a pleasant watch nor a necessarily an intriguing one but not forgettable either.

clumsy and heavy handed...I wanted more London and less flashback and the narrative just doesn't work. The rape scenes are really unnecessary and add nothing to the story. Less telling and more showing would have helped this movie. The more I watched the more I fast forwarded through the WW2 scenes (which is weird for me) and shot to the spy / intrigue elements. Funnily enough though after the movie and I had gone our separate ways I still enjoyed the redeeming features, namely, the concepts tackled in the movie - loyalty, the past, control and freedom. Hey who thought to the put the SAME surf rock song in the girlfriend London scenes? Whacky...

I just happened to notice that this film was about to start on "Movies4Men" TV Channel, so I decided to give it a try. I am glad that I did. I really enjoyed this movie about a young German who arrives in London in 1962 as a Russian spy. The film shows in various flashbacks how this young man had ended up in the situation he is now in. The battle scenes of Russian soldiers fighting in the rubble of Berlin against the remnants of German resistance is well handled and the brutality by some of these soldiers against one young girl in particular, is realistic. As an espionage fan I also liked the spy element as well, with some good background 1960's Shadows music. It is well worth seeing should you get the chance to do so.

Perhaps I should have been warned by the banner across the top of the box 'THE PAST IS A PLACE YOU CANNOT ESCAPE' (so profound - not) and the fact that the only praise longer than one word they have is from something called Boys Toys, who proclaim 'SEARING WARTIME SET-PIECES'. The latter at least is true.

Here's an edited synopsis: 'In the last days of World War II, a teenager is forced into battle against the advancing Red Army ... he is captured by the Russians and disappears behind the Iron Curtain ... 17 years later, he is recruited ... and sent on a mission by the KGB to London'.

Bought this because Tom Schilling was in it but have to agree with the other reviewers - his bits are excellent, the German back story is the only watchable part, mostly because of his natural, effortless, sympathetic performance and far more credible and moving than the 60s spy episodes. They should have expanded this to movie length and completely cut the 60s section.

This film was written and directed by Reg Traviss. There's a reason this guy's not a household name and this movie could be it. First, he's cast Ed Stoppard (no relation to Tom or Miriam - oh wait, yes, he's their son; nothing like getting a part on merit, and this is nothing like it). His lines are delivered in an affectless tone, reminiscent of Keira Knightley at the wooden beginning of her career, with one of those irritating schizophrenic accents British people adopt to please Americans, often heard in US teen drama, such as Dawson's Creek and One Tree Hill; for the first half of a sentence, they sound as if they're in Downton, for the second half, they sound like they're in EastEnders, i.e. posh then common. No one in England really talks like this. And whereas everything Tom Schilling does is finely nuanced; Ed Stoppard's a blunt instrument and he doesn't have the charisma to carry a weak storyline. It's not entirely his fault as he doesn't have much to work with.

Then, if he started as German, then went to live in Russia, why doesn't he speak English with a foreign accent? It has to be pointed out that Tom Schilling is way more convincing in a second language than Ed is in his first. It would have made more sense (since Schilling was playing 10 years younger than his actual age), to age him a mere 7 years and allow him to play the older version too. At least there would have been a consistency as far as accents are concerned.

The story and script are dire. The 60s spy plot is stultifying (consisting of Ed waiting on a succession of benches to rendezvous with other spies), though they try to spice it up by adding Michelle Gayle (not really known for her acting and this isn't going to help) as a supremely uninteresting love interest. They both like art so they fall in love. It's as bland and as undeveloped as that but no doubt Reg thought it represented a real meeting of minds.

There's a very irritating cameo from Bernard Hill as a disaffected Communist who spouts tripe like: 'Are we the leaders? Or are we the led? Or are we neither?' which must pass for deep in Reg Traviss's world and Ed's too as he responds 'It's a lot to think about'. No, it ain't. Who cares? Worse than all this though is the voice-over, which is another attempt to be deep, with Ed delivering such pearls of wisdom as 'strength through experience to again become strong'. Hmm. This doesn't mean anything. Or 'the unstoppable force of nature swept through my heart'. Neither does this. But Reg is fond of 'unstoppable force'; it crops up more than once.

Don't go thinking this has anything much to do with either the Joy Division of the Nazis or the band of the late 70s. If only.

My final verdict is that there's just about enough Tom Schilling to warrant any fan of his watching this movie.