A Vida dos Outros

I saw this film in its North American premiere in a packed theater at the Toronto Int'l Film Festival this past week and was pleased to be part of a standing ovation at the end for the director and star, who were both on hand.

"The Lives of Others," set in East Germany not long before the fall of the Berlin Wall, tells the moving story of a police investigator forced to confront himself and the work he does. In a society poisoned by secrecy, fear and the abuse of power, a number of the movie's characters -- artists, actors, writers -- must look deep inside and decide what they are made of; none more so than the investigator.

This is a movie that took me to a place and time that felt very authentic, for a tale that was very satisfying.

Ulrich Muhe, who plays the investigator, is mesmerizing, and the young director is to be applauded for this, his first full-length film. Some have compared "The Lives of Others" to Coppola's "The Conversation" but the two have completely different story arcs and are only superficially similar.

Both my companion and I felt this was our favorite of the six films we had a chance to see at the festival.

After seeing the outstanding Pan's Labyrinth, I could not understand how anything could beat it to the Oscar for Best Film, let alone the accolade of Best Foreign Film. That was until I saw The Lives of Others.

Putting it simply, this is the best film released in years. The framework of the story surrounds a Stasi officer who is assigned to monitor a writer and his actress girlfriend considered loyal to East German regime. That is all I am prepared to reveal because this film operates on so many levels that I wouldn't know where to begin. On the surface this can be enjoyed as a taut drama but essentially it is a study of the human condition and the capacity for compassion and humanity exists in even the most inhumane people. All of this is shot against the backdrop of the greys and browns of communist East Germany.

As a film it is virtually flawless. The three central performances are nothing short of electric, with particularly Ulrich Muhe giving one of the greatest leading man performances since Al Pacino in The Godfather. None of this would be possible without a brilliant script and exemplary direction, that brings the characters to life extracting the best out of the actors. The result is no words are wasted, and every scene is relevant and expertly conceived. This manages to explore deep issues without being turgid, is moving without being draining and remains gripping and entertaining without being superficial.

In summary, this is film-making at its finest. It is the sort of movie that you'll go down on bended knee and pay homage to the inventor of cinema, because it is films like this that cinema was created for. You'll forgive a year of tedious sequels and cash cows, for the one day that films like this get released.

10 out of 10 is too modest.

I am still quite speechless. Overwhelmed by how utterly compelling the story was and by how emotive the acting story was. Floored by the unbelievably great character development. This film is close to perfect. It is a spiritual cousin to 2004's magnificent Downfall and shares a lot of similarities with Paul Verhoeven's stunning Black Book from last year, not just because these films share two actors. This multi-faceted character driven masterpiece really is as good as it's hype says.

Sebastian Koch in particular absolutely shines. He is one of the best international actors working today and he follows the brilliance of his role in Black Book with the lead here. With his bohemian, dishevelled good looks and brilliant charisma, he's the best German-speaking actor since Bruno Ganz. But he is far from the only good actor in this movie, Ulrich Mühe as the State Security (Stasi) agent whose task it is to monitor Koch's suspiciously free thinking playwright, brings another near perfect performance to the movie. Agent Wiesler initially appears to the audience as the polar opposite of Koch's character. With his grey button down clothing, closely cropped hair and consistently emotionless face he symbolises everything about the overbearing untrusting Socialist government of East Germany that is wrong. He could easily have remained that character throughout the whole film but he becomes the surprising emotional centre of the story and the line between heroes and villains is significantly shifted (something which extends to the supporting cast as well. Truth be told there are probably only two characters in this film whom I didn't have to rethink my opinion of). Weisler reveals himself as a lonely, isolated man who risks his entire career as his attitude to his subject changes from one of mistrust to one of near-adoration. There is an undeniable link between the two characters even though they never share a single scene and Georg Dreyman (Koch) doesn't even find about Wiesler until the last 10 minutes of the movie, which leads us up to what should go down as one of the greatest endings in cinema history. Just thinking about the final spoken lines brings the tears to my eyes.

As I said, without a doubt one of the greatest movies I have ever seen. And as much as I adore Pan's Labyrinth, this one really did deserve it's Academy Award for Best Foreign Language Film of the Year. An absolute masterpiece.

This film utterly blew me away. Full disclosure: I'm a German born (Munich born) German-American who left Germany in 1986, before the wall came down. I cannot describe the feeling I felt as the last few words were spoken on the screen. I could not look at the subtitles ( a habit of speaking two languages ) because my eyes were so full of tears. I cannot tell you how I was so sorry I did not experience the wall coming down. This film healed a wound that may have been left by the nightmare years of 1938-1945, my own great uncle being a Nazi war criminal, convicted in Nuremberg in 1946. Yes, we are mensch too. We have the potential for greatness (of character) in spite of our history. Thank you Florian Henckel von Donnersmarck, for giving me back half of my lost soul in this single "es ist für mich". I am reminded again that the difference between ourselves and beasts is that we have a choice.

I wonder why there has been so little written and publicized about this movie. This should be seen in every country and its merits trumpeted from the skies.

It starts off slowly and the locale is the former East Germany, inhabited by 16 million people who are being spied upon relentlessly by their secret police. In this very real world of the Berlin Wall, there are many Stasi, 90,000, overseeing the populace, aided and abetted by hundreds of thousands of informants. Many of these snitches were blackmailed or other pressures exerted (threats to children and loved ones) and a few obliged voluntarily.

What is truly amazing is that this is Florian Henckel von Donnersmarck's directorial debut, and he maintains a masterful hand throughout and keeps the story and the tension rolling from the first scene of interrogation which is filmed back and forth between a tape educating new Stasi as to interview techniques and to the actual cell itself where it was recorded.

The movie circles around three main characters and there is a wider circle of the powerful who pull the puppet strings for a variety of reasons which become clear as the movie unfolds.

First is Georg Dreyman, a playwright on the verge of celebrating his 40th birthday. Sebastian Koch, a tall,handsome actor dressed in writerly rumple, shares an apartment with his actress girlfriend, Christa-Maria Sieland (Martina Gedeck), and exists within the strictures of the state-sponsored theatre. He is a decent man, and tries to win support for his blacklisted friends.

For reasons that become quite clear, Dreyman falls under suspicion and the whole sophisticated Stasi spying system comes into play in the era of 1984. His whole apartment is bugged and every sound is monitored.

The man in charge of all this is Captain Gerd Wiesler,(Ulrich Mühe). Ulrich's performance is nothing short of stunning. He starts as an almost robotic presence, dressed in gray, he almost disappears into every scene he's in. But one detects a clear intelligence in his bright eyes, the only part of him that's alive. Captain Wiesler lives in a non-descript arborited apartment, much like himself. He squeezes his food onto a plate from a tube.

But the captain starts to awaken slowly as he listens surreptitiously on the state of the art equipment secreted in the attic of Dreyman's building. He starts to fall in love with the couple and then pressure from above is brought to bear on him to dig for the dirt in Dreyman's life.

And he is in a dilemma now, as he is drawn further and further into the life of Dreman and his girlfriend.

I won't throw spoilers down. Suffice to say is that the story is enthralling right down to the very last frame. The acting is superb, the direction impeccable and the world of East Germany meticulously drawn with the viewer respected enough to find his or her own emotional path through the plot.

The ending is truly one of a kind. So right and true that I was left nodding, it was the only one possible.

A must see, I will sing the praises of this film to all I know. 10 out of 10 from me. Right up there in my top 50 of all time. I find it so disappointing that these movies don't get wider release AND compete for an Oscar in the best picture of the year and not just for best foreign film. Now there's a heretical thought!