Spy gadgets – just another thing the Germans got us beat on!
Party-loyalist Captain Gerd Wiesler (Ulrich Mühe) hopes to boost his career when assigned the task of collecting evidence against the playwright Georg Dreyman (Sebastian Koch) and his girlfriend, celebrated theater actress Christa-Maria Sieland (Martina Gedeck). Wiesler’s bosses believe that they are up to no good and in order to fully indict them on all of the wrong-doings, he must find some crucial evidence in where they seem to be participating in acts that go directly against the country. But what he finds out about both of them, doesn’t just change their lives, but his own as well.
You see it in almost every film that ever takes place in Germany, during the 80’s: People were constantly being watched by a “Big Brother” government. We’ve all seen it done before, but there’s something about Florian Henckel von Donnersmarck’s approach to this story that gives this one a little extra twist, and also something to really hold onto, even if you still hate the Germans for all of those terrible years. We all knew they had their evil ways, but let’s just try and get past it all for the better of movies!
Anyway, what was solid about von Donnersmarck’s direction here is that he’s given the rough task of taking all these different stories, and finding a way to mesh them all together to create one, cohesive whole. He takes on the love-triangle perfectly and shows us why one lady would get stuck up in such a situation such as this; then he takes on the spy story where we see this one man doing his job, sometimes to the fullest extent; and then, underneath it all, is a taut, suspenseful thriller that comes around in a big way during the last-half or so. What starts off as a neat, little character drama, soon turns into a full-out thrill-ride, but isn’t a drastic change of pace that seems forced. Because von Donnersmarck treats everything lightly and takes his time going through all of the details that we need to, or should at least know to make ourselves more familiar with what’s going on, the movie can be followed easier and therefore, creates more tension.
Some people believe that in order for a movie to be tense and suspenseful, that the director behind it has to keep the audience in the dark as much as possible, without lending a helping hand at any time. A part of me wants to believe that, but the other part of me believes that there needs to be at least some hand-holding to make sure that both the audience, and the movie itself, are on the same page. Movies such as Tinker Tailor Soldier Spy are going to great lengths to make sure that the audience doesn’t fully know everything that’s going down, just so that it can pull more and more tricks once the actual-reveal comes up at the end, and it’s annoying. It’s deceitful for no reason. Here, however, von Donnersmarck gives us just enough to understand and take in for ourselves, all before he throws us for a loop.
He cares for the audience. He wants us to know just what the hell is actually happening, rather than just throwing us into something and saying, “good luck”. Not saying that there is anything wrong with movies that are a tad vague on details for the betterment of the mystery that’s possibly at the center, but to just make sure that the audience doesn’t know what’s going, because it’s fun, isn’t that; it’s bothersome. Which is why when you get a movie that gives its audience plenty to take in and make their own assumptions about, it’s quite a treat.
If only more and more thrillers were like this. Even if the movie does have a bit of a languid pace, there’s still something to hold onto here and it works in the movie’s favor.
Where the movie works though, too, is in the performances and how they actually bring a human-element to a story that, quite frankly, needed one to make it come around full circle. As the sneaky playwright Sebastian Koch does a solid enough job to where he seems innocent enough. At times, he is a little bland since we never understand what he wants to do with his life, other than just talk a whole bunch of crap on East Germany, but overall, he seems like a human, rather than just a character this movie needed to enhance the plot. As his girlfriend, Martina Gedeck gets a bit more to do as we see her back-story come out in certain spots that is, at times, disturbing. But because of this, we feel more for her and the situations that she’s sadly been thrown into.
However, the one that really steals this movie and gains our attention the most, is also the most tragic figure of this whole movie. Late actor, Ulrich Mühe, plays Hauptmann Gerd Wiesler, a government spy who has basically took on this assignment to look a lot more skilled with his job. Even though he starts off as a total d-bag, who seems like he just wants to do his job and make anybody pay who gets in his way, he actually becomes more sympathetic as time goes on and you realize that he’s doing more for this couple, then any of them would have ever expected. It’s pretty impressive what this guy can do with a character that just seems like your stereotypical a-hole right from the start, but totally change up our minds on him very quickly, just by a few good deeds here and there. They all have reasons behind them, too, and aren’t just done because the guy wants to be a good Samaritan, but they’re reasons I won’t divulge into here for the sake of spoilers.
Overall though, it’s a downright shame that Mühe died so soon after this because after this hit the states, the roles would have just come pouring in for him.
Consensus: With its languid pace, the Lives of Others may run on a tad longer than it maybe should have, but given the cast’s performances and the story itself, there’s a lot to enjoy here, as well as be effected by.
8.5 / 10
Photo’s Credit to: Thecia.Com.Au