East Berlin, November 1984. Five years before its downfall, the former East-German government ensured its claim to power with a ruthless system of control and surveillance. Party-loyalist Captain Gerd Wiesler hopes to boost his career when given the job of collecting evidence against the playwright Georg Dreyman and his girlfriend, the celebrated theater actress Christa-Maria Sieland. After all, the highest political circles back the "operation".
by bubzia
on 04/07/2007 2 of 2 people found this review helpful
What I loved most: Ulrich Muhe
What I really hated: Somewhat forced actions of certain characters to advance the plot
Ulrich Muhe is sensational as a Stasi agent of the former East German Government. He is quiet, brooding and speaks mostly through body language and a stealthy gaze, but commands every aspect of the film even when he is not speaking or for the matter, even physically present in scenes involving others. The events pushing forward the plot are suspenseful though perhaps a bit far-fetched in hindsight, for a personality transfusion or evolution of the sort undertaken by the main character would indicate nothing short of the comings of a revolution, and is therefore in the film, difficult to accept, regardless the extraordinary turn of events, given the character's essential background and development. Nevertheless, this is a 'message' movie of the highest calibre, the type of which is not made in Hollywood anymore -- relevant and on the surface, wholly non-commercial. There is a beautiful closing scene that encrypts the tenor of Muhe's performance. In an American movie, it would have been shot as an opportunity to exhilarate and so allow the audience to bask in the march of humanity, etc. In this film it is treated succinctly and encapsulates well the muted, quiet ardor that is its own -- for being nine times out of ten, the only -- reward and justification for the triumph of will. Yes, Muhe was robbed of an Oscar nomination for this film; for if he had been included in the select circle, he might actually have won.
In 1984, the former East Germany was controlled by the most sophisticated secret police the world has ever seen, called the Stasi. Cunning and acutely stealthy in operation, the Stasi consists of several thousand employees, plus thousands more 'unofficial recruits' hired to keep watch over their own neighbours, bosses and even friends. One recruit happens to be Gerd Wiesler (Ulrich Muhe), who collaborated with the Stasi to spy on an East German playwright named Georg Dreyman (Sebastian Koch) and his girlfriend Christa-Maria Sieland (Martina Gedeck).
Before long, Wiesler begins to be immersed in 'the lives of others'. Listening in to Dreyman's domestic conflicts and melodrama from a dusty attic, Wiesler becomes obsessively attached to Dreyman's life. Absorbing details that few people from the outside may know, Wiesler knows he has indirect control over Dreyman's life. In one instance, Wiesler rings the doorbell to the main entrance of Dreyman's apartment, leading him to a painful truth - witnessing his girlfriend Christa exit another man's vehicle, brushing away the folds and wrinkles on her clothes, and zipping up the side of her skirt.
Despite his blatant intrusion into the life of a stranger, Wiesler is really Dreyman's advocate - a 'guardian angel' you might say. After a while, we realise that it is not just Wiesler who's probing into a life that's not his, but we, the viewer, are thrown above the microscope to his own life. Watching the film is an experience of its own, and Wiesler becomes an object of our scrutiny, which makes us no different than voyeur that he is.
The strong cast brings a sense of urgency and drama to what is already a concrete script. The film is inscribed with wispy yet profound messages, especially when Wiesler sheds a tear listening to Dreyman playing the piano. Even through a pair of headphones, Wiesler not only listens to Dreyman's music, but connects to his feelings as well. It's the running emotions that grab you.
Although it deals with German history, the film focuses on the human aspects of life within that period - that amidst the oppression, there is hope in the unlikeliest of forms.
Production Photos - Click thumbnail for larger photos
