The Good German
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Movie Reviews of The Good German
Movie Review: Soderbergh Makes a 1940's Warners Melodrama His Way But the Result Falls Surprisingly Short
Summary: 3 Stars
Filmmaker Steven Soderbergh is not to be dismissed, but I am disappointed with how misbegotten this stylized 2006 melodrama is given the potential of the material and the pedigree of the cast. The idea is intriguing enough - recreate a WWII-era, black-and-white Warner Brothers movie replete with back projection shots, a period-authentic score (composed with appropriately grand orchestration by Thomas Newman), and plot elements borrowed from Casablanca and The Third Man. What Soderbergh does is apply current sensibilities about the characters that would have been heavily censored by the Hayes Office at the time. The result just doesn't resonate, and the chief culprit seems to be Paul Attanasio's dull, often incoherent screenplay. He eschews the romanticism necessary to make Soderbergh's ruse work, and the characters' motivations come across with little conviction, at least anything that would make sense to a discerning viewer.
The convoluted story follows war correspondent Jake Geismar back to Berlin where he ran the AP bureau before the war began. He finds a city in ruins not only in terms of the buildings but in the people who remained for the war's duration. Geismar is covering the Potsdam Conference for the New Republic, but he also wants to find his former lover, Lena Brandt. Assigned to drive him around the city is an American soldier named Tully, whose chipper exterior masks an angry, amoral center deep into the local black market. The fates of these characters clash unexpectedly around Lena's mathematician husband, whom she claims is dead, even though he is still pursued by a number of unsavory characters including a corrupt U.S. Congressman. As Geismar, George Clooney is smart enough not to mimic Bogie, but he also doesn't slip into his role very easily since his ironic élan is at odds with the character's obsessive, misguided nature.
You would think the superbly talented Cate Blanchett would have a field day playing a Dietrich-like femme fatale, especially with her convincing Teutonic accent and camera-ready cheekbones, but Lena is presented so cryptically that we become indifferent to her tenuous situation. Soderbergh also spends precious little time developing the romantic aspect of their relationship, which should have been the driving force to their often irrational actions. Tobey McGuire's boyish demeanor as Tully becomes unctuous almost immediately, and the role's darker dimensions escape his grasp. The production's technical aspects provide curiosity value, although the result can be less than enthralling, for example, Soderbergh's camerawork is far too crisp to compare reasonably with the gauzy treatments of old studio craftsmen like Arthur Edeson (Casablanca) or Robert Krasker (The Third Man). I imagine disappointing box office returns must be the reason there are no extras offered with the 2007 DVD release.
Movie Review: Comparision with 1946 East German film
Summary: 3 Stars
Steven Soderbergh's THE GOOD GERMAN puts me in mind of Wolfgang Staudte's excellent film, DIE MOERDER SIND UNTER UNS (The Murderers are Among Us), which was the first film to be produced in post-war Germany. Both movies are set amid the ruins of Berlin (Truemmerfilm)--both in the Soviet Zone, in fact. Both feature a beautiful German woman who is involved with a "good German", that is, a man of conscience had been forced to serve in the Nazi regime. I enjoyed this new Hollywood film noir, but I found it a bit "colorless" at times: the lackluster execution misses the drama worthy of this important and creative concept, compared to the more suspenseful and memorable THE MURDERERS ARE AMONG US.
Cate Blanchett's character, Lena Brandt tries to escape from Germany and is burdened with the dark secrets of her past; Susanne Waller in the 1946 film returns to Berlin after being imprisoned in a concentration camp, and she tries to bring order to the rubble of her apartment and to create a new life and future for herself. Although Susanne suffers unjustly in the war, she returns to Berlin and puts the past behind her. Lena, on the other hand, basically sells herself in order to survive and to avoid the horrible suffering of the war, and to avoid dire post-war consequences. Her main goal is to get out of Berlin, but, by her own admission, she can never really leave Berlin (i.e. her past). Apparent from the start is that Lena sells her body in order to get what she wants, but we only learn the full truth of her complicity in war crimes at the very end, as she leaves Jake Geismer (Clooney) to board a plane and leave Germany. (Casablanca-esque)
The "good German" in the modern film noir is the continually hunted Emil Brandt, whereas the good German of the older, East German film is the haunted Hans Merten. Both movies illustrate the fact that there were indeed those few souls who were able to see the Nazi agenda for the evil that it was, and not succumb to the prevailing propaganda. But THE MURDERERS ARE AMONG US is does so more successfully and memorably. I do like the brave little Emil Brandt, who kept lists and records of the atrocities he witnessed. Though he seems meek in comparison to Lena, he is really the courageous one because he risks his life for the truth and whereas she is the cowardly one who will stop at nothing to save her own hide. But where's the panic, where's the horror? Even the sewer doesn't seem to stink in THE GOOD GERMAN. Hans Merten, on the other hand, is a tortured soul. He can't get a grip on himself after the crimes which he witnessed and was forced to be party to. This feels more real. How can a person of conscience survive the horrors of war so calmly unaffected? Merten's shows serious signs of post-traumatic stress. Brandt, just feels a bit claustrophobic down unter there.
I found this parallel between these two old and new films interesting. In my opinion, THE GOOD GERMAN is good, but THE MURDERERS ARE AMONG US, which is also available through Amazon, is better. Watch them both and see what you think.
Movie Review: Oliver as Emile
Summary: 3 Stars
I watched this movie twice. The first time I watched it in French without subtitles. Then I watched it in English, because I'm not fluent in French. :) Steven Soderberg directed this picture. He won the Best Director Oscar for "Traffic" in 2000 & has directed "Sex, Lies & Videotape" & "Erin Brockovich." Using the name Peter Andrews, he also served as cinematographer. I think it is a valid question with the scene setup at the airport at the end why did he choose to copy "Casablanca," without adding anything significantly to that setup. We do get the profound twist [spoiler] that Lena survived by turning in other Jews to the Gestapo, but it only serves to take what we think is going to be a romantic ending and shatters it. Perhaps like the Wizard of Oz, the film should suddenly have burst into color as the lights come on in Clooney's head.
Thomas Newman's score was nominated for the Oscar from this film and is one of the best elements of the picture.
George Clooney won his Best Supporting Actor Oscar for "Syriana" in 2005. He's an actor who brings depth to even a thin character. As Captain Jake Geismer, he broods and carries a torch romantically for Lena, even as he gets beaten up by Toby MacGuire. While Clooney does a good job IMHO, the plot seems to beat him back consistently, "You should have never come back to Berlin." We might have had a more interesting film if he'd been elsewhere.
Cate Blanchett filmed "Notes On a Scandal" & "Babel" this same year. She does a journeyman's job. She's got a distinctive, lovely face and turns in an expressive low-key performance that smolders from the pressures of trying to survive. While she won her Best Supporting Actor Oscar for "The Aviator" in 2004, she did not add to her honors with this film.
Toby MacGuire's got boy-next-door looks. The plot undercuts his appeal by showing his character Tully boffing Blanchett from behind bent over the bed. Then he clubs Clooney into a clump and jumps into the Jeep for a getaway. MacGuire's only acting recognition at this point is a Best Supporting Actor award from the Toronto Film Critics Association for "The Wonder Boys" in 2000. Unfortunately, his best Good German moment was as a corpse pulled from the river with debris clinging to his face.
Shown to best advantage is Christian Oliver as Emile Brandt. Oliver has not worked extensively with credits like "The Baby Sitters Club" in 1995 and "Subject Two" about vampires in 2005. But as Lena's husband hidden away, he brings depth and good looks in his brief camera appearances.
Who knows why Beau Bridges signed on to play Col. Muller in this film. The best thing about his performance is that he showed up for work and shot the scenes.
This is neither a wonderful film nor an awful film. It's an average film. I'd watch it just to see Cate Blanchett. With lowered expectations, it's good for an evening's viewing. Enjoy!
Movie Review: More an homage than a movie
Summary: 3 Stars
There's times where I don't really care for Steven Soderbergh movies. Traffic I felt was a compelling if overlong drama that had an aura of self-importance, like it was intentionally made to be one of those "important" films. The Good German sometimes feels like the same way: like it wants to be a classic noir film although the intent of course was for it to feel like a film that would've been made at RKO in the old days. While there's some things that feel out of place and just a genuine feeling of sluggishness, it's still a good homage to a classic time period.
Jake Geismser (George Clooney) is in Berlin covering the Potsdam Conference with Winston Churchill, Joseph Stalin and President Roosevelt. He meets driver Tully (Tobey Maguire) who's a nice guy until he's left alone in where he becomes a scheming, violent firebrand. His girlfriend is prostitute Lena (Cate Blanchett) who of course has to be Geismer's ex. But the name "Emil Brandt" pops up which gets everyone riled up and a murder happens which gets Jake investigating on who the culprit is and what's so important about Emil Brandt.
I will say this: this film has the perfect 1940's feel, from the shadows to the staging, the overdramatic music and it's even presented in full-frame. Even if you don't like the movie, you got to admit they nailed the feel. As far as acting, we do have Clooney and Blanchett who almost were born to be in black and white with Blanchett looking the best. Only misstep was Maguire since he's not really menacing so much as he goes into temper tantrums. If he did this performance in Spider-Man 3, that movie would've benefited. He even rabbit punches a girl in this just so the filmmakers can let you know this guy's tough. Classically trained actors just needed to look at you to know he's not one to cross; Maguire has to actually be given something violent to do.
The problem with the movie as a whole is that it's just...kind of boring. It's as if more attention was paid to the look than the script. Casablanca was talky sure but at least it kept your interest. This feels like you're just checking the time code a lot wondering how long the movie's been on. But if you're one that prefers the old movies, you'll probably like this although a sex scene that would've got cut feels odd while there's tons of language to get thrown around. But, as far as a great B&W movie is concerned, Good Night and Good Luck is definately a better pick.
Either it's to preserve the "magic" of making the movie or just simply make special features unavailable until a bigger Special Edition is announced, it's really bare-bones. Unless you're a die-hard fan and have to own it, go ahead and buy it but for others, either rent it and test the waters or just wait.
Movie Review: Triumph of style over substance
Summary: 3 Stars
I guess Steven Soderburgh got this great idea...to make a modern film noir, set it in post war Berlin, and shoot it in black and white just like the original noir films. Then he hired some first rate actors... but somehow...it didn't work. If he had worked harder at the script and less at the look, it might have been wonderful.
Yes, it is visually splendid. If that is enough for him, then he has succeeded. However, if he wanted to make a really good motion picture, he failed.
I'm not sure exactly where he went wrong but I failed to care about any of the principles. And when you can't engage the interest of the audience enough to drag them through all of the meananderings of the grim and grisly plot, then why bother?
The "hero" whose name I've already forgotten although I just watched this, played by George Clooney, never managed to engage me. I think a different actor might have made the film work. Clooney is handsome and can be very charming in an old-fashioned, Cary Grant way. (Maybe Soderburgh should make something in the style of the wonderful, slick and glamorous Grant films, casting Clooney....that might be a hoot.) He has no ability to convey any emotion facially and after while, who cares? He is supposed to be so enamored of this woman that he risks life and limb over and over but somehow he never manages to show us that.
Cate Blanchett is very beautiful here and her extraordinary cheek bones play wonderfully in the intense black and white lighting. She is a fine actress and although I was tempted at times to make cheap remarks about her attempting to imitate Marlene Dietrich, I do think that she did the best anyone could with this silly plot. She manages to look stunning all the time which is quite a feat for someone who has been on the brink of starvation for years.
I haven't read the book this was taken from so I don't know exactly what went wrong in re-writing the script. But it failed to show just what motivated the Clooney character to keep after Lena (Blanchett). He got beat up time after time and his driver, (Toby Maguire) was killed because of his involvement with her...She was mysterious and elusive--perhaps he was just a man who needed punishment, but the story makes us believe he is the virtuous hero, not just a jerk.
Well, after sitting through all of this, I really didn't care who got on the plane at the end and who didn't. When a film that tries so hard leaves viewers (I'm not the only one) not caring, there's something very wrong.
It looks good, though.