Ele Está de Volta

I was traveling in Berlin a year ago when I first saw someone reading the eponymous book on which this movie is based. It stuck in a corner of my mind, so as my travels brought me back to Berlin and posters were advertising "Er ist wieder da", I had to give it a go.

The challenge, as with previous comedic movies themed around Hitler or the Nazi regime, is treading the line of reasonable taste and still being challenging enough to gain some relevance. One of the best known spoofs of the times, The Producers, uses it as a pivot to tell an engaging story about several memorable characters, so that works well. But here, there's little to pivot from, as Hitler, in realistic attire and demeanor, narrates his experience of present day Germany. So the twist, in part, is to make it a mockumentary in the spirit of Borat, see how people react to Hitler walking the streets and delivering his calculated critiques of the political system, the media - life in general. When it's not doing this, the film provides a decent dose of slapstick and irony to its more obviously scripted parts. Distinguishing one from the other is not really the key to enjoyment; the key lies in accepting this faithful representation of Hitler as a grotesquely humorous caricature of the symbolic power he holds over modern history in its most extreme moments. It was a bit harder than I thought it would be at the beginning, but one settles in well, after a while.

Narratively, not much really happens, other than the fact that the protagonist pops up in Berlin and gets acquainted to what the world is like nowadays. To help him in this, a few support characters act as guides; none believe him to be "the real thing", but rather a comedian or a satirist. So, in a sense, it's not really a very ambitious film, because the degree to which it engages with the moral dimension of the situation is limited. But it is ambitious in that it tries to keep a straight face even through the more ghastly, touch-and-go moments one would relate to a Hitler movie. It is at its best when it does this, but then the occasional piece of slapstick hits you in the face are you're back into the reality of a mildly amusing film that people have only heard of because it is polemic.

An important part in the whole thing coming together reasonably well is thanks to Oliver Masucci, who offers a strong performance to keep the "pots" in balance. Perhaps one could critique this in particular: the implication is that any piece of fiction told in the first person will make the viewer empathize with the character, hence humanizing the historical figure. But the historical figure itself is merely a representation of the man and "Er ist wieder da" tries to contextualize this - make away with what you know and imagine this were pre-1933. As mentioned, it doesn't go very deep with it and it would be quite problematic to do so. It's just a thought experiment which concludes in a slightly open and ambiguous fashion.

To address the real question though: did I laugh? Yes, I did. Did I enjoy it? Yes, I did. The film managed to create an amusing environment which plays off the character of Hitler, without making it the other way around (all the time). As for the big picture, I might not agree that the world is, collectively, where it was seventy years ago, in spite of the troubles we are currently facing, especially in Europe. Or that we would make the same mistakes all over again. But that's another story of me visiting Berlin.

In the very start the movie seems so innocent and a little silly. The colors are all bright. The humor though is really entertaining and i like that the Germans can joke about this topic themselves. As the movie goes on we see a lot of footage of ordinary Germans saluting Hitler and complaining about the immigrants, it connects really good with the time we live in. The movie gets more and more serious, and the main character finds out it's the real Hitler. I think the well made transition from being all innocent and humorous describes Nazi Germany. No one thought it would go this far. Really touched me even though i've seen quite a lot of movies about Nazi Germany. 9/10

"Er ist wieder da": he is back again in English is a MUST SEE. First of all it is a really good insight in how Hitler influenced the German people and finally gained their trust. It is black humor but one of a amazing reality at that time and with a bitter similarity with the social status in Germany and Holland due to the huge flow of asylum seekers. A film to see for the young and the old. and good to see with your children ( like we did) Do'nt be foled by frustrated reviewers who have an opinion without having seen the movie. ( I call this " the Caligula " syndrome ,also one of the most underrated movies of all time: showing the reality of history !!!)

This film is intended to be about the way modern German society deals with important issues facing them, and they way they can quickly come under the spell of a "strong leader" ETC. Unintended by the film makers I suspect, was the way the modern left exposed themselves in the way they see those who dare to disagree with their positive views on globalisation and internationalism.

The main message of the film seems to be that those Germans (or Europeans in any European nation) who believe that Germany isn't some giant refugee centre for the rest of the planet, and that Germans have a right to their own indigenous land, not the rest of humanity, are just like Der Fuhrer.

An example of this can be seen in real time news footage of a Swede making the suggestion that asylum seekers, heaven forbid, should actually accept the cultural and societal norms of Sweden. Oh how "Evil" of that "intolerant" man! The film is well made and funny (who'd a thought Germans had a sense of humour?) in places. But take the leftist political message with a grain of salt. Europeans have EVERY RIGHT to be concerned about their demographic integrity and migration from the developing world that never seems to cease. They have the right to be concerned about these things without being demonised as Nazis or anything else.

"Even Poland still exists! This war has been useless!" erupts Adolf Hitler not too long after the movie has started. This is one of the many instances one has to fight the urge to spit one's drink all over the place. A fish out of water if there was ever one, Look Who's Back puts an outrageous twist on the stuff of legend (Elvis not dead, neither Marylin, or MJ) and precipitates a resurrected Hitler in contemporary Germany. The Fürher still thinks he's on command; harsh reality quickly enlightens him: he is a laughing stock, with a future in stand up comic.

This movie is way better that it should be, a miracle walk on a very, very tight rope. The first reason is of course the delightful performance of Oliver Masucci, unrecognisable behind his moustache. Compared to him, the rest of the cast is a bit run-of-the-mill, but most of the scenes involving public appearances have been improvised, and what the common German people have to say about a Hitler comeback is as hilarious as it is frightening.

What could have been a series of vignettes à la Sacha Baron Cohen takes the trouble of developing a plot and various characters, to whom Hitler reacts with a mix of genuine passion for "the German people" and a sly denial of anything racist or xenophobic. He's the perfect politician, with an answer to any question and at least three escape routes planned for any quagmire.

Carefully editing a mix of newsreel (the Angela Merkel cameo, gratified with "the charisma of a cold noodle", is priceless), movie references (the Leni Riefenstahl opening title, the now-iconic Bruno Ganz' bunker scene, except it's oh so cleverly attributed to the villain of the piece) and guerrilla-style impromptu meetings, Look Who's Back manages to balance serious issues (far too many to list) and fleeting fads shedding a cruel light on our social networking culture. From an online "Adolf Hitler make- up tutorial" to a "I hate everyone but Hitler" tweet and the demonstration that Facebook is useless at recruiting Hitler Jungen, naturally springs the conclusion – it shames one to write it – that "no one ever stay mad at Hitler for very long".

Chaplin's The Great Dictator was a brave movie because it was fighting on the front of an ugly war. Look Who's Back adapts this sense of emergency and combativeness to our desperately stupid modern times. The worst thing Hitler can do is kill a puppy. Gasing whole families was "all a joke", as asserted by the latest generation of one of said families.

What to think of the world we live in, the duty of memory, the atrocities that constellated the 20th century, when one pees itself watching the most reviled person in history punctuating his nazi salute by the phrase "See you soon, Nigga"? If this blog has a meaning at all, it has found his first authentic modern monster. Bad news is it's a real one; good news is it's desperately funny.