O Leitor

Post-WWII Germany: Nearly a decade after his affair with an older woman came to a mysterious end, law student Michael Berg (Ralph Fiennes) re-encounters his former lover (Kate Winslet) as she defends herself in a war-crime trial.

The film raises the question of whether we should judge someone by the law or rather "the laws of the time". And there is a big difference. Of course we know that killing is morally wrong, and those who sent people to death in World War II were morally in the wrong, even if they were only following orders.

But were they legally wrong? One could argue not. That is a difficult topic. Like the women of this film, those at the Nuremberg Trial were tried and convicted under laws invented after the war. Laws written by the winners. This makes one wonder: is it right to put someone on trial for something morally wrong, even if it was not legally wrong? And who should decide the laws? Had the Axis won, they could have just as easily declared it illegal to drop atomic bombs on innocent villages and then try, convict and execute Harry Truman.

Right and wrong is no easy topic.

Kate Winslet is just outstanding in this very interesting film that is almost two stories-in-one. The first part is a sexual story of an older woman having affairs with a teenage boy and the second part is her war crimes tale and what happens afterward. The first is a somewhat happy jaunt of a short story and the second is a very serious and depressing story. That's where Winslet really shines. Obviously, she's developed into an an outstanding actress.

The second part is what most people, I assume, will remember about this film. Can "Hanna Schmitz," a Nazi employee (so to speak), who was part of concentration camps, be a sympathetic character? To me, that's what it looked like that's the question the story was asking. The answer may have come in the final minutes of the movie when her ex-lover "Michael Berg," now grown up and played by Ralph Fiennes, confronts a survivor of the camp. That, too, was very intense and interesting scene. Lena Olin is riveting as "Rose/Illana Mather."

"The Reader" was full of quiet, but intense scenes. This is a very thought-provoking film, especially for one that doesn't start off that way but look almost like some soft-porn flick to get our attention. It is anything but that.

For Germans, this film must bring out many emotions and thoughts. Guilt and forgiveness are just two of the issues that are dealt with in this unique film. "Hanna Schmitz" turns out to be an incredibly simple-yet-complex person, unlike any I've encountered on film in a long time. You see her in all kinds of light, both good and bad.

Kudos, too, to David Kross' acting as the young Michael Berg. It must be strange for someone his age (barely turned 18) to do the scenes he did with 30-something Winslet.

Overall, a very different and excellent film that stays with you and makes you ponder its main characters.

Very well acted and presented and a faithful representation of the main points of the novel on which it is based. This film encourages us to look closely at very difficult issues surrounding the atrocities of World War II. I am at a loss to understand why so many critics have been so damning of it. Perhaps it is too subtle for them to understand. It seeks to outlaw the false and intellectually lazy theory to explain the holocaust, namely that the horrors were committed by monsters. In its place we are offered contextualization, not as excuse but as explanation of how quite ordinary people were able to do extraordinarily dreadful things. We avoid these uncomfortable facts at our peril.

"Every single day -- 365 days a year -- an attack against children occurs that is 10 times greater than the death toll from the World Trade Center...We know how to prevent these deaths -- we have the biological knowledge and tools to stop this public health travesty, but we're not yet doing it." Jean-Pierre Habicht, professor of epidemiology and nutritional sciences at Cornell.

Eight million of the eleven million childhood deaths a year could easily be prevented. That's because almost 60 percent of deaths of children under 5 in the developing world are due to malnutrition and its interactive effects on preventable diseases. Is this not a holocaust?

An old Soviet piece of gossip had it that Comrade Khruschev was interrupted during his famous 'secret' speech before the Communist Party elite when he denounced Stalin's crimes in 1956, three years after Stalin's death. A voice from the audience shouted, "Why didn't you speak out against these crimes when Comrade Stalin was committing them?" Khruschev looked up from his speech and asked loudly, "Who said that?" A long silence ensued after which Khruschev observed, "That is why."

When you see "The Reader", ask yourself why you are doing nothing about the holocaust which is happening every year to the poorest children of the world. Is it because you are afraid to be seen as being 'silly' or too 'socialist' or 'soft hearted' or because the system demands that you pay attention to the important things of life like obeying your bosses and keeping order and besides, "What can a lowly person like myself do about the situation" and you're too busy speculating on what the real estate market will be doing in the coming months and finding a pair of jeans at Jeans West which will fit.....

Michael meets Hanna when he is fifteen. Unbeknownst to Michael, he is coming down with scarlet fever. He is throwing up in an alley on a very rainy day when Hanna, the tram conductor, stops to offer him a warm place to rest until he feels better. Hanna also cleans up his vomit from the pavement. Hanna believes in orderliness and cleanliness. This penchant for order is apparent from the beginning of their relationship and these traits lead her to offer Michael baths and to bathe herself as well and as the movie progresses the motherly Hanna and her son-like friend begin to explore the attractions which flow from such erotic circumstances.

Both Hanna and Michael are full of hidden passions. Michael could have been a Heydrich in Prague, had he been born 15 years earlier. He is clearly 'officer material'. Hanna, on the other hand, is a working class woman born 30 years earlier into a society which would tell women that their highest aspirations could be fulfilled by staying in the kitchen with the children when they weren't engaged in taking in a church service. with the family. Education was unnecessary. Both Hanna and Michael are intelligent and attractive. Both are turned on by the doors which are opened to them by great literature. Both are also social products of their own German culture, with its various and sundry facets of puritanical, psychological repression, including a kind of reserve which leads to the peculiarly German goodness of keeping one's mouth shut in public about things political, things which the authorities have well in hand. Hanna's fear of exposing her own illiteracy and Michael's fear of public condemnation as a young law student at speaking up for Hanna in a court of law are the stuff of tragedy.

Sound familiar?

Even after many steamy sexual encounters, Hanna is shocked by passages in D.H. Lawrence's LADY CHATTERLY'S LOVER, telling Michael that it is the equivalent of smut and that he should stop reading from it, almost as his mother would have. But clearly, Michael is not attracted to Hanna because she is a mother replica--Oedipus, no. One has only to compare and contrast Michael's screen mother with Kate Winslett's Hanna to know that.

However, it is 'klip und klar' that Hanna loves Michael and he loves her but, unbeknownst to them both when they are together, their love runs very, very deeply. They might believe that they will get over their summertime romance as time goes by, but the reality is that such love does not die, no matter what happens: there are no conditions for it.

There are elements of Fassbinder's "Ali, Fear Eats the Heart" and "Berlin Alexanderplatz" in "The Reader". "Sophie's Choice" also comes to mind. See this movie and be prepared to cry for humanity because as Thoreau observed, ""Most men lead lives of quiet desperation and go to the grave with the song still in them." Methnks this is especially so in cultures as deeply built on the authoritarian personality character structure as the German one is.

There's an urgency in human nature to understand. When it comes to the Holocaust, history's bleak, unsettling period, it doesn't matter what book you've read, film you've seen or account you've heard; in the end, your response it halted by its incomprehensible conclusion. How could humanity course its way towards such a violent, destructive path? How could people knowingly send men, women, and children to their impending doom? Most puzzling, how could the world allow it? Even though its been 63 years since the blood-drenched annals of World War II, its aftermath today is still bone chilling.

After a six year celluloid dry spell, Stephen Daldry returns to the director's chair in a brilliant, sexually charged, and oddly heartbreaking tale about the complexity of human morality and the lifelong repercussions that result from our actions. Adapted from Bernhard Schlink's best-selling German novel, "The Reader," Daldry's visual translation is a powerful, emotionally absorbing film that is one of the year's best. It's superbly crafted.

With World War II over, Germany, in 1958, is still recovering. Deep within Heidelberg, Germany, Michael (David Kross), a young pubescent teenager haven fallen ill, is comforted by Hanna (Kate Winslet), a hard working woman who is twice his age. Taken by her generosity, Michael revisits Hanna to offer his gratitude. What begins as an awkward reunion escalates into a seductive, forbidden affair that intensifies when Michael begins reading to the distant, empty Hanna, who is deeply awakened by Michael's spoken literature. Too young to understand love's complicated implications, Michael is emotionally devastated when Hanna suddenly disappears. Nearly a decade later, unable to forget his passionate summer while studying law, he attends a Nazi trail, and to his dismay, hears Hanna's distant voice.

"The Reader" is a complex film; maybe a little too complex for some. Though the film pertains to Nazism and the "sins of our fathers," in essence, "The Reader" is a film that reflects the emotions inside all of us. During a lecture, Michael's professor comments, "Societies like to think they operate on morality but they don't." In this cynical age, how far from reality is that statement? During Hanna's trial, she's questioned why she participated in the Nazi party's horrendous war crimes, broken she replies, "It was my job." Oddly enough, that seems to be the justification most people use. Surprisingly, though, "The Reader" isn't about her exposure as a war criminal, but an exposure on an individual who took the wrong path. She's not a bad person; she's simply made wrong choices. However, when it comes to having involvement in the Nazi's liquidation of the Jews, how "wrong" can you get? "You ask us to think like lawyers," cries on student, "what are we trying to do?" A distraught Michael replies, "We are trying to understand!" But, just who exactly is trying to grasp a deeper understanding: the court or Michael? How can Hanna's past be forgiven? Director Stephen Daldry brings the much needed emotional layer that a character such as Hanna Schmitz desperately needs. Although her actions are beyond unforgivable, strangely, we sympathize with her. Maybe it's her other shameful secret. Maybe it's superb character development.

"The Reader" is a film that is driven by it's raw performances. In one of her finest hours, Kate Winslet gives the performance of a lifetime. It's a haunting and heart-breaking. David Kross, who's only 18, is impressive as the teenager with raging hormones; it's such a daring performance. Winselt and Kross bring this picture together. Their performances are jaw-droppingly brilliant. Completing the role of Michael, as the tortured grown man, is Ralph Fiennes, who balances Michael's despair through his melancholic emotion when he encounters a grown Jewish woman, played by Lena Olin, who was also at Hanna's trail. Although her scenes clock in less than 10 minutes, Olin, too, is breathtaking.

When "The Reader's" credits rolled, I sat quietly shaken by what I had witnessed. It's a film that is impossible to forget. When a grown Michael asks Hanna, "Have you spent much time thinking about the past?" Heartbroken, she replies, "It doesn't matter what I think. It doesn't matter what I feel. The dead are still dead." She's right.