Il nastro bianco

Fans of Michael Haneke's more morally shocking films such as 'Funny Games', 'Benny's Video' or the draining 'Time of the Wolf' might find themselves surprised by the quieter and slower analysis of evil in his latest work 'Das Weisse Band'.

The action takes place in a North German village shortly before the outbreak of the First World War and in structure presents a number of subtly drawn individual characters as they are caught up in a mysterious series of violent events.

In the hands of a mere moralist this could be an unbearable few hours. But it's credit to Haneke's skill as a film-maker that we are utterly caught up and absorbed by a large cast of children and adults.

One of the on-going arguments in Haneke's films appears to be the origins of human evil, or perhaps more precisely put, individual acts of evil behaviour. Are such acts an individual's responsibility or do they spring from a climate in which particular energies are at work? This is the question Haneke appears to be exploring here (just as was a central question relating to French society in 'Cache').

One of the most disturbing things at the heart of the film is the fact that we do not know why particular acts of evil take place (including the maiming of a disabled child and the beating of a nobleman's son), or even who commits them. However, this is no 'whodunnit', although with its retrospective voice-over from the School Teacher's p.o.v. we are let to believe for a long time that were in a crime/thriller genre.

Throughout his body of work so far, Haneke has suggested that looking for the sort of easy answers films and TV all too readily supply is partly responsible for our misunderstanding how violence in society occurs. (Funny Games).

'The White Ribbon' bypasses the usual dramatical devices of motivation and blame and instead softly focuses on an environment (in this case Germany in the first quarter of the Twentieth Century) in which certain unhealthy energies are at work.

These energies include an emotionally repressed and joyless Protestantism, the mistreatment and oppression of women, the familial abuse of children, the fetishism of strong masculine and patriarchal values, and the un-breachable divide between the rich and the poor. Set over all this, like an umbrella, is the fact that the small provincial society depicted in the film is all but completely isolated from wider society.

Another poster here has pointed out that Haneke is using his village as a microcosm to reflect Germany as a whole, and I would agree with that. Haneke's Dorf, whilst having an individual character, is a relative of Von Trier's Dogville in the sense that it stands for a larger set of national values. In this respect Haneke seems to be diagnosing German society in the run up to the 'Great' War as one of authoritarianism, religious doubt, intolerance, and fear.

What is remarkable in such a film is how little human joy or love is to be found in such a seemingly idyllic rural landscape. The love strand (between the narrator Teacher and the dismissed 17 yr old children's nurse) has a rather strained aspect. It is as though the film maker is suggesting that affection might also be down to available opportunity.

One of the most moving scenes in The White Ribbon is when a young child brings his father, a Priest, a caged bird he has nursed back to health. The father's beloved pet canary was killed (by his daughter as a protest against the bleak, loveless household she's been reared in - a home in which a father shows more affection to a small bird than his own children.

Thus the scene symbolically depicts a child demonstrating the love that the parent himself is unable of showing. Tears fill the priest's eyes. It is a tiny moment of love and hope in an otherwise emotionally barren wasteland. It is also a symbol of how a new generations of Germans have dealt with, and healed, previous decades of pain.

White Ribbon focuses on a pre World War I German town and surveys the evolution of violent, wild incidents resembling punishments indicted on certain individuals. We are provided access to the story from the point of view of the town teacher, whose recollective voice-over interposes throughout the film. The narration competently obscures the culprits, thereby attributing the responsibility for the rage, and its (hypocritical) social incorporation to the whole society rather than certain "abnormal" characters.

In movie circles,White Ribbon is widely regarded as depicting the evolution of a microcosm of a proto-fascist society (which is to a certain extent viable by the way). However, the movie is a less Germany-specific and more universal parable on the socialization of rage and violence, on the evolution of the social circulation of rage and violence. The film follows a route from local (Germany) to universal, coming up with far reaching arguments, just as Foucault focuses on 18-19th century France and presents arguments on the evolution of prison and punishment systems.

Considering Haneke's entire filmography, it is evident that the director has always been interested in philosophical takes on pschology and human interaction, without historicizing his filmic arguments strictly, i.e., without attributing time spans/societies to them. If we leave the mediocrity of the enterprise aside, Haneke's recent remake of Funny Games shot-for-shot, yet in a different society (USA rather than Germany) fittingly illustrates the point.

After a span of work disappointing for many Haneke fans, the auteur returns with an influential and aptly argumentative film.

The White Ribbon is a film that only Haneke could make. It's bleak, upsetting, perverse, and so true to the human condition that it's hard to watch, yet you won't want to look away. It forces you to think about how a society treats its children, and what those children will do when they've grown up and run the society. The cinematography alone is enough reason to watch this film.

An unflinchingly-nihilistic movie that explores the darkness of humanity and authoritarianism, The White Ribbon is set in a fictional village in Germany just prior to World War I and tells the tale of a series of strange events and crimes that upset the peace of the local society. Shot with a gorgeously bleak white-and-black color palette and heralded by excellent performances (special props to the child actors who all deliver genuine and convincing showings), this is a film that, despite having no scares in the traditional sense, is at its core a horror movie: less of the chainsaw-wielding masked-monster type, more of the depressing Shakespearian-tragedy kind.

Like Haneke's earlier movie, Caché, The White Ribbon presents itself as a mystery and whodunit-type affair, but only as a framing device. It is less-interested in the solution to the crimes and is instead more about exploring the people surrounding the heinous events: how they are impacted, their reactions to the whole thing, and the implications that the crimes have on who they really are. By having the crimes subtly mirroring the actions and customs that the villagers have traditionally practiced and accepted as social norms, the movie cleverly and effectively forces the characters to face their own selves in a disturbing new light - even if only briefly, and even if they don't realize it.

The pacing of the movie is on the slower side, and viewers that are seeking thrills or definitive resolutions are likely to be left somewhat unsatisfied. However, if you are looking for a visually breathtaking film that delivers a chilling commentary on the roots of human evil that will leave a lasting impact, The White Ribbon is a fine pick.

Stunningly beautiful, shot in the exquisite black and white, with the faces of the characters looking like the old pictures from the beginning of the 20th century, The White Ribbon has the longer title in German, Das weiße Band, Eine deutsche Kindergeschichte -The White Ribbon - A German Children's Tale. The longer title gives quite a good idea behind the mystery of the troubling, disturbing, and shocking events in the film that did not have an explanation by the end of the film and left some viewers confused and unsatisfied. I think that the film is very clear and if approached with the open mind and readiness to accept the subtle details in the storytelling and implication, the open end will not disappoint. Anybody who is familiar with the work of Michael Haneke knows very well that he does not make pure mystery/thrillers even though his movies have a lot of mysteries and often very dark secrets By his own admissions, he uses the mystery in the White Ribbon to show the origins of the extremism of all epochs, and what could have been the beginning of the darkest times in the history of the country. Looking at the life of one small picturesque village in the northern Germany just on the brink of the World War 1, Haneke explores the malice, envy, apathy, hatred, and brutality that envelop the village like a web, and lead to the outbursts of evil that goes unpunished and will bring the larger evil in the future. While watching the film, I kept thinking how much it brings to mind the films of another master of grim and sad yet compelling and thought provoking pictures, Ingmar Bergman. Two of his films remind The White Ribbon especially. One, The Winter Light, a tragic and thought-provoking film about a village priest (Gunnar Bjornstrand) who can't give much comfort and hope to those who need them as he feels none for himself. Another - Fanny and Alexander, the story told from the point of view of two children, a brother and a sister whose lives changed tragically after their widowed mother married a local bishop, seemingly a charming and caring man. What would have happened to Fanny and Alexander, what kind of persons would they have become or would they have survived had they not had a big dysfunctional but loving family who saved them from the abusive, cruel hypocritical stepfather, Bishop Edvard Vergerus?

Like Bergman, Michael Haneke does not make the horror films but the computer generated monsters are simply a joke comparing to the real monsters of hatred and evil that found a place to hide and grow in the souls and minds of the characters in his latest film. It is a serious, disturbing, and thought-provoking film. With all its darkness and pessimism, the film has sweet, touching and even humorous moments. They have to do with the only love story in the film and come to think of it, the only love story in all Haneke's films I've seen, between the film's narrator, the local school teacher and the 17 years old Eva, the nanny for the children of the baron, the most powerful man in village.

One of the critics said that The White Ribbon is the film that will haunt the viewers for days and will be seen, discussed and thought of for the decades to come. I completely agree with that, and I feel I can watch it again and again. Yes, it is that good.