“The Lives of Others” (Leben der Anderen, Das)(2006) is a haunting, yet tender meditation on secrecy, paranoia, and compassion in Cold-War era Berlin. Florian Henckel von Donnersmarck directs and pens this period piece set in 1984, and, surprisingly, its his first run at a feature length film. Surprising, because “The Lives of Others” is a work whose attributes and profundities are found in its mature subtleties: hushed camera movements, head-strong acting, and cinematography that is crisp, efficient, and, most importantly, German in feel. The results are beautiful. Undoubtedly, these decisions in direction heavily supplement the narrative’s scope into a “ministry of greyness”.
Our silent protagonist is Captain Wiesel, a top-notch interrogator for the Stasi, East German secret police. Wiesel exudes a pinnacle persona of a State ideologue and employee. He seemingly takes his new role as a professor of state security and interrogative tactics with a nationalistic pride that is not displayed on an emblematic flag or seal, stitched to his uniform. Instead Wiesel’s satisfaction stems from his abstract belief in Socialism and his job as the, “Shield and Sword” of the German Democratic Republic. Wiesel is cold, sterile, and, naturally, efficient. This manner is the opposite of his former classmate, and current colleague in the State Department, Captain Grubntiz. Grubnitz’s inferiority to Wiesel’s methodical intellectual abilities are overcome by his adeptness as an opportunistic bureaucrat. At a state sponsored play by renowned writer Georg Dreyman, Wiesel displays his most candid suspicions, telling Grubnitz, his box-mate, that Dreyman, “is not the pillar of socialism that he seems.” Grubnitz, naive and in denial of the off-cuffed remark, then takes the opportunity to champion Wiesel’s sentiments toward the Minister of the State, Bruno Hempf. Hempf, the fat-bellied bureaucrat, nonetheless, is enthused by “Grubnitz’s” suspicion toward the playwright Dreyman. Of course this not only serves Minister Hempf in a matter of “State” securities, but it also helps the man eliminate a romantic foe. Dreyman courts his stage lead Christa-Maria Siedman. Hempf desires the young femme and his attempts at romantic wooing reek of scotch and sleeze.
Ah, and so the games begin. And no, these games should not be viewed with a light stomach. For in the German Democratic Republic, lusts are procured, and careers are commandeered by ‘the powers that be’.
The set up: Grubnitz, upon 'his' suggestion heads the full investigation of Georg Dreyman, the writer, and potential state dissident. Wiesel, takes charge of the well-executed wire-tapping of Dreyman’s apartment. Hempf’s interest seem to only stem from his irksome and unreceptive desire of CMS. Dreyman is a beneficiary of state-sponsored theatre distribution and funding. Still, his friendships reside with the bohemian intellectuals of Berlin; these artists maintain a tight-lipped persona in public, but use safe quarters to vent their true dissatisfaction with the GDR. CMS copes with lover's dangerous liasons by popping pills. Finally, she begins to succomb to Hempf's oppressive solicitations.
Mind you, while this is happening, Colonel Wiesel up in Dreyman's attic listening and typing reports to the State, in attempt to bust Dreyman on any sort of petty dissent or sympathy toward the West.
“The Lives of Others” is an astute study of a confounding moment in modern history, conveyed through the thoughts and actions of the State’s most valuable human commodities: nationalistic State officials, and the art community. Although both serve to enhance the posture and pomp of the GDR, both parties act out of sense of necessity, not ideologies. It is this moral rift that creates the first cracks in a Wall that eventually crumbles
.
Our silent protagonist is Captain Wiesel, a top-notch interrogator for the Stasi, East German secret police. Wiesel exudes a pinnacle persona of a State ideologue and employee. He seemingly takes his new role as a professor of state security and interrogative tactics with a nationalistic pride that is not displayed on an emblematic flag or seal, stitched to his uniform. Instead Wiesel’s satisfaction stems from his abstract belief in Socialism and his job as the, “Shield and Sword” of the German Democratic Republic. Wiesel is cold, sterile, and, naturally, efficient. This manner is the opposite of his former classmate, and current colleague in the State Department, Captain Grubntiz. Grubnitz’s inferiority to Wiesel’s methodical intellectual abilities are overcome by his adeptness as an opportunistic bureaucrat. At a state sponsored play by renowned writer Georg Dreyman, Wiesel displays his most candid suspicions, telling Grubnitz, his box-mate, that Dreyman, “is not the pillar of socialism that he seems.” Grubnitz, naive and in denial of the off-cuffed remark, then takes the opportunity to champion Wiesel’s sentiments toward the Minister of the State, Bruno Hempf. Hempf, the fat-bellied bureaucrat, nonetheless, is enthused by “Grubnitz’s” suspicion toward the playwright Dreyman. Of course this not only serves Minister Hempf in a matter of “State” securities, but it also helps the man eliminate a romantic foe. Dreyman courts his stage lead Christa-Maria Siedman. Hempf desires the young femme and his attempts at romantic wooing reek of scotch and sleeze.
Ah, and so the games begin. And no, these games should not be viewed with a light stomach. For in the German Democratic Republic, lusts are procured, and careers are commandeered by ‘the powers that be’.
The set up: Grubnitz, upon 'his' suggestion heads the full investigation of Georg Dreyman, the writer, and potential state dissident. Wiesel, takes charge of the well-executed wire-tapping of Dreyman’s apartment. Hempf’s interest seem to only stem from his irksome and unreceptive desire of CMS. Dreyman is a beneficiary of state-sponsored theatre distribution and funding. Still, his friendships reside with the bohemian intellectuals of Berlin; these artists maintain a tight-lipped persona in public, but use safe quarters to vent their true dissatisfaction with the GDR. CMS copes with lover's dangerous liasons by popping pills. Finally, she begins to succomb to Hempf's oppressive solicitations.
Mind you, while this is happening, Colonel Wiesel up in Dreyman's attic listening and typing reports to the State, in attempt to bust Dreyman on any sort of petty dissent or sympathy toward the West.
“The Lives of Others” is an astute study of a confounding moment in modern history, conveyed through the thoughts and actions of the State’s most valuable human commodities: nationalistic State officials, and the art community. Although both serve to enhance the posture and pomp of the GDR, both parties act out of sense of necessity, not ideologies. It is this moral rift that creates the first cracks in a Wall that eventually crumbles
.
