Downfall (2004)

Directed by: Oliver Hirschbiegel
Written by: Bernd Eichinger
Starring: Bruno Ganz, Alexandra Maria Lara, Corinna Harfouch, Ulrich Matthes, Juliane Kohler
Rated: R

"Life never forgives weakness." That is the law of nature. Oliver Hirschbiegel's blistering adaptation of the memoirs of Adolf Hitler's secretary reveal the final intimate moments of the man and the party as the Russians encircle Berlin. Hitler's will and party member's loyalty to the cause butt heads as we see who really deserves to live and die. But what's more, the precariousness of memoir begs us to question secretary Traudl Junge's own involvement. Life may have forgiven her, but can we?

It is possibly the greatest last paragraph to the most pivotal chapter in human history. Six years into the war for Europe German forces are under control as Stalin's reckless abandonment for human life finally outmatches the skills of the Nazis. With the Soviets now in Germany and just miles from the capitol, Hitler must plan his final counterattack and restore the will to fight in his heavily divided cabinet.

An short prologue shows an interview with the real Junge before her death in 2002. Like many, many others she iterates and reiterates that she was never really invested in the Nazi cause and many times thought of not taking the job as Hitler's personal secretary. From that moment we must automatically question everything that follows, for if she is telling the truth then perhaps the Hitler we see is not the true man; if she is lying then perhaps the whole account is untrue.

I have a feeling, however, that Hirschbiegel stripped away some the glossier hews of her story and attempted to present a logical and well-researched account of the final days of that bunker in Berlin. The German people have fixated on the moment in time, and in retellings of WWII have been unapologetically harsh on themselves. Younger generations are too distanced to fall into that trap, but for older ones it seems to me to be almost cathartic to continuously reopen healing wounds as a perpetual reminder to themselves and to everyone the monster that lurks within each of us.

Largely that is what makes this impeccably crafted film so fascinating. I asked myself what it must have been like for the German Bruno Ganz to play Hitler, and to offer a portrayal that not only gives the bone-chilling, explosive dramatics of a mad man, but to give one that also showed a bitter, defeated, aging man with almost grandfatherly qualities. The moments of quiet reflection of that deeply passionate, deeply disturbed figure chip away the caricature of contemporary film reels. He was a person and honestly believed that he was saving the Aryan race. It is an immense performance deserving of the highest praise.

The film is two parts political drama, one part war film. To begin with the former, infighting amongst the last and most powerful Nazi members nearly drive Hitler to hysteria. The two-faced nature of the whole situation speaks clearly in this time and space--a man fears for his own life and the lives of his family and country, but it's a double edged sword. Either he stays and dies by Hitler's side at the hands of the Reds, or he commits treason and surrenders, giving justification for his death at the hands of the Teutons. How much was real devotion or simply blind faith is called into question. We watch as relationships strain and morph with the Goebbels' (Corinna Harfouch and a terrific Ulrich Matthes), Goering, Himmler, Mohnke and others, effectively tearing down the wall of self-delusion Hitler created for himself.

As to the latter, the believability of the war torn Berlin is almost startling. It's authenticity and the fact that I know none of these German actors who did their jobs so well wholly invested me in the story that is in its core hugely cinematic. Bloody and unrelenting, at times it did venture to test the stomachs of the audience, but like "Saving Private Ryan", it makes no effort to disguise from us the awfulness of war.

Riveting and informative, this is historical drama at its finest. I've always found it difficult to watch films about the Second World War simply because those involved--Hitler, Stalin, Churchill, Roosevelt--are personalities so big that they become almost too synonymous with ideas to be seen as real people. In turn, that makes films about WWII feel more like stories than accounts. This movie accomplished the rare feat of taking away the cartoon color of an engrossing event in order to fill it with life. It was an event filled with love, jealousy, paranoia and betrayal; an event of a man watching his empire crumble and the realization that he was never the savior he promised himself he was.

4/4