ChrisWasser

I wouldn't want to let onkelyogi's review stand unanswered, because I think his is a minority opinion. The record-high ratings (one in ten Germans watched this TV mini-series and the audience for the last episode was even bigger than for the first) and the very positive user reviews on amazon.de and elsewhere are proof enough that the majority of Germans really liked this show. In my opinion it is one of the best German mini-series in the last 10 years - an instant classic - and it doesn't have to hide behind series like Downton Abbey and similar shows.

Downton Abbey has better/wittier dialogue and may be a little more subtle, but Das Adlon certainly is more emotional and some scenes (such as the courtroom scene in the last episode) are truly sublime.

By telling the very personal stories of a few interesting characters over several decades, the script somehow manages to paint a picture of the general German history in the 20th century. The story stays true to the historical facts and the fates of the (real) Adlon family are cleverly and believably interwoven with the fates of the (fictional) Schadt family. You really care for these characters and all of them are played very well (I really couldn't single out one of the actors; they're all wonderful).

Das Adlon is very lively directed by Uli Edel (Christiane F., Last Exit to Brooklyn, Der Baader Meinhof Komplex), the cinematography is beautiful and the production design and costumes (which are well chosen for the different epochs) are sumptuous. Several of the actors age in their roles from adolescent to middle-aged very credibly thanks to the excellent make-up.

A final word about Wilhelm II.: In my opinion the Kaiser was portrayed pretty accurately in the series. For all I know he really was something like a caricature of himself in public and he was arguably the worst of the nine kings Prussia ever had (to the misfortune of Germany).

After years of domestic introspection and reflecting on history a number of German films – such as "Fata Morgana" (2007) or "Dr. Alemán" (2008) – recently have ventured out into the big, wide world.

"Tangerine" is a very fine example of this trend as it provides a real insight into the almost mythical city of Tanger. By their acquaintance with Amira, Pia and Tom get to know contemporary Morocco far better than any ordinary tourist from Western Europe could ever hope for and I'd like to think that Pia, having experienced the lure of the city, will return there time and again. As Jean Genet famously wrote: "Before you travel to Tanger withdraw all your savings and say goodbye to your friends, because the number of people who came here for a short vacation but then stayed for years is alarmingly high." The film's structure is pretty open, almost impressionistic, and leaves room for the camera to just observe the sights and sounds of the city – thus finding beautiful images such as the candle on the turtle. It's only a pity that the film's narratively strong beginning comes at the expense of a rather weak ending.

The characters are likable but flawed. Yet both Amira's lying and Pia's betrayal are perfectly understandable in their situation (as is Tom's indecisiveness … who could decide between two such wonderful women … especially when you're rather preoccupied with finding those elusive Jilala and Jajouka musicians ;-).

I've liked Nora von Waldstätten and Alexander Scheer ever since their debuts in "Jargo" resp. "American Showdown"/"Sonnenallee" but here they are just great and now I officially declare them two of the coolest and most interesting German actors working today (she: ice-cool but spirited, he: flamboyant-cool but funny). With her obvious language skills and her looks I even think it's only a matter of time before Nora von Waldstätten becomes an international star.