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Bob Mann (459 KP) rated Alone in Berlin (2017) in Movies
Sep 29, 2021
Small Rebellions.
Once again, World War II turns up another true story of quiet valour to turn into a motion picture. At a time when Trump is pontificating about so called “fake news”, here is a timely tale from history which centres on the battle against genuinely fake news: the Nazi propaganda machine.
After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,”Harry Potter and the Goblet of Fire”) and Anna (Emma Thompson, “Saving Mr Banks“) turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.
Resistance is futile. Otto (Brendan Gleeson) and Anna (Emma Thompson) out on a new mission.
Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that’s no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are ‘alone in Berlin’.
Daniel Brühl as police detective Escherich getting more than he bargained for from the SS.
After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto’s carpentry company is being encouraged “by the Fuhrer” to double and triple their output… of coffins.
A (very clean) Berlin, decked out with Nazi regalia.
More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanor and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl (“Rush“) as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.
The Nazi Womens’ League out on another fund-raising sweep, providing Thompson with one of her best scenes in the film with an Oberführer’s wife.
Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don’t see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto’s mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….
Otto and Elise Hampel – the real life characters on which the film’s Otto and Anna Quangel were based.
I can’t finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. “Small” films like this tend to rather disappear into the woodwork for Oscar consideration, but here’s a soundtrack that I think should be considered: (but what do I know… when “Nocturnal Animals” wasn’t even nominated in one of the Oscar crimes of the century!).
In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I’ve seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos (“Amour”). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.
After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,”Harry Potter and the Goblet of Fire”) and Anna (Emma Thompson, “Saving Mr Banks“) turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.
Resistance is futile. Otto (Brendan Gleeson) and Anna (Emma Thompson) out on a new mission.
Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that’s no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are ‘alone in Berlin’.
Daniel Brühl as police detective Escherich getting more than he bargained for from the SS.
After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto’s carpentry company is being encouraged “by the Fuhrer” to double and triple their output… of coffins.
A (very clean) Berlin, decked out with Nazi regalia.
More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanor and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl (“Rush“) as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.
The Nazi Womens’ League out on another fund-raising sweep, providing Thompson with one of her best scenes in the film with an Oberführer’s wife.
Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don’t see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto’s mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….
Otto and Elise Hampel – the real life characters on which the film’s Otto and Anna Quangel were based.
I can’t finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. “Small” films like this tend to rather disappear into the woodwork for Oscar consideration, but here’s a soundtrack that I think should be considered: (but what do I know… when “Nocturnal Animals” wasn’t even nominated in one of the Oscar crimes of the century!).
In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I’ve seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos (“Amour”). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.
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Leah (3 KP) rated Murder on the Orient Express (2017) in Movies
Dec 31, 2017 (Updated Dec 31, 2017)
Humor (2 more)
Very beautiful
Loveably quirky lead character
More like "Murder on the BORE-ient Express" am I right?
I'm about to be THAT girl and tell you that the book is better. I mean, no contest there. But for those of you who don't give a ? about that, the movie does have some redeeming qualities.
Not a total snooze-fest. More like a yawn-fest. While it is beautifully shot, it had a very monotonous, dragging-on sort of cadence to it. Nothing happened, besides all the things that happened... But just nothing to pique your interest throughout the whole thing.
The lead character's personality and charm is to die for in this adaptation, compared to the book. He's just so wonderful and I love the play-up of his quirks. Some of the other characters shine as well. Daisy Ridley is brilliant. Surprisingly, Willem Dafoe does an awesome job and a very convincing German accent, despite his small part. Michelle Pfeiffer on the other hand, her "ok, THIS is why everyone loves her" moment never happened... until the end. Oh, that ending! So much more dramatic and enticing than what the book delivers. The "whodunit" part of the book was so nonchalant and not the climatic ending I had wanted. So be happy the movie pulled through in that department.
Overall, still entertaining, just don't expect a ton of action or fast-paced dialogue to keep your attention. Maybe skip the late-night showing and go to a matinee after getting some coffee ?
Not a total snooze-fest. More like a yawn-fest. While it is beautifully shot, it had a very monotonous, dragging-on sort of cadence to it. Nothing happened, besides all the things that happened... But just nothing to pique your interest throughout the whole thing.
The lead character's personality and charm is to die for in this adaptation, compared to the book. He's just so wonderful and I love the play-up of his quirks. Some of the other characters shine as well. Daisy Ridley is brilliant. Surprisingly, Willem Dafoe does an awesome job and a very convincing German accent, despite his small part. Michelle Pfeiffer on the other hand, her "ok, THIS is why everyone loves her" moment never happened... until the end. Oh, that ending! So much more dramatic and enticing than what the book delivers. The "whodunit" part of the book was so nonchalant and not the climatic ending I had wanted. So be happy the movie pulled through in that department.
Overall, still entertaining, just don't expect a ton of action or fast-paced dialogue to keep your attention. Maybe skip the late-night showing and go to a matinee after getting some coffee ?
Christine A. (965 KP) rated The October Man (Rivers of London #7.5) in Books
Jul 16, 2019
Novella set in Germany. Book 7.5 of the Rivers of London series.
I was provided with a complimentary copy of this book so I could give an honest review.
The October Man by Ben Aaronovitch is the "#7.5" book in his Rivers of London series. I read the first book, Rivers of London for book club last year and has marked the 2nd book, Moon over Soho, to be read on Goodreads. When the opportunity arose to read this novella, I jumped at the chance. To give a fair review, I read books 2 - 7, not including the novellas, before reading this.
Peter Grant is mentioned in the novella but his German equivalent, Tobias Winter, leads this investigation set in Trier, Germany's oldest city.
While Aaronovitch's writing style and humor show through, I missed the characters I have been fortunate enough to meet in the books set in London. The backdrop of London has become as important as any of the characters.
Setting the novella in Germany was interesting because it allowed us to see the difference between how the German's investigate and the Folly. It brought the magical world into a different point of view as when FBI agent Kimberley Reynolds was around. I would have enjoyed this more if Peter Grant had helped with Tobias Winter's investigation.
I already marked book 8, False Value, to be read.
This 200-word review was published on Philomathinphila.com on 7/15/19.
The October Man by Ben Aaronovitch is the "#7.5" book in his Rivers of London series. I read the first book, Rivers of London for book club last year and has marked the 2nd book, Moon over Soho, to be read on Goodreads. When the opportunity arose to read this novella, I jumped at the chance. To give a fair review, I read books 2 - 7, not including the novellas, before reading this.
Peter Grant is mentioned in the novella but his German equivalent, Tobias Winter, leads this investigation set in Trier, Germany's oldest city.
While Aaronovitch's writing style and humor show through, I missed the characters I have been fortunate enough to meet in the books set in London. The backdrop of London has become as important as any of the characters.
Setting the novella in Germany was interesting because it allowed us to see the difference between how the German's investigate and the Folly. It brought the magical world into a different point of view as when FBI agent Kimberley Reynolds was around. I would have enjoyed this more if Peter Grant had helped with Tobias Winter's investigation.
I already marked book 8, False Value, to be read.
This 200-word review was published on Philomathinphila.com on 7/15/19.
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