German Film and its Reconciling Powers

The only constant in German history is change. German borders have continuously been reshaped over the past centuries. It is only since 1990 that Germany, as it exists today, has been a country, and the changing borders throughout the years have not come without a cost. Only through wars and struggles has the country taken on its current day shape. As one might guess, wars and struggle lead to pain. For a nation and its people to fully come to terms with the past, old atrocities must be made apparent, openly discussed, and forgiven. This awkward process of reconciliation is made difficult because of its first steps. What is the best way to begin the discussion about difficult topics? How do two sides peacefully come together and work towards a peaceful accord? Perhaps the most acceptable medium to answer the two questions is answered by art, or more specifically, film. After all, audiences approach film expecting to be engaged.

This paper will attempt to show that German films, especially those appealing to international audiences, chiefly address WWII themes. Der Untergang (The Downfall) is set in the 1940s, and carefully chronicles the fall of the Nazi party. The dialogue generated by this film is important to reconcile Germans to one another. In addition, this paper will argue that German film must begin to address new issues to remain a relevant force. For example, the 2006 film Das Leben der Anderen (The Lives of Others), explores life in East Germany during the 1980s, a particularly oppressive time. In the 80s, the State turned neighbor against neighbor and created mass paranoia. One never knew if he was being watched or not. By tackling this topic, the film took a step in a new direction for German cinema, and was wildly successful. One reviewer comments, “it’s almost shocking to see a German filmmaker finally cut loose from the stock monsters of National Socialist and the Holocaust and get to the new ear of crimes against humanity during the Communist East German Chapter” (Jacobsen 71). By combining both of these perspectives into one essay, this paper will offer a brief cultural study.

It is particularly important to note that many German struggles of the past have pitted German against German. For example, WWII was a time where German troops executed many of their fellow countrymen that were deemed undesirable. Hitler pitted friend against friend, and fear drove people to commit unspeakable atrocities. At the end of the war and as a form of punishment, the country was divided into different occupation zones, again turning neighbors into enemies. By attempting to flee from the East to the West, many citizens lost their lives at the hands of national police. This inter-country violence has bred hatred in the hearts of citizens - a hate that is difficult and painful to address. Its power to generate dialogue on taboo topics makes the German film industry vitally important.

Discussing conflicts becomes easier as years pass, which helps to explain the vast popularity of movies set in Germany during or immediately following World War II. Non-Germans are interested in the personalities of the leaders and nations that could have committed such heinous acts. German nationals, on the other hand, appreciate the excuse to raise topics otherwise considered awkward. It has been found in a survey that, “41 percent of Germans believe that the country should continue to grapple with its eastern Communist past. (Boyes 33)”

One such example of a film that addresses difficult topics is Der Untergang (The Downfall). The two-and-a-half hour long flick follows Hitler through the 10 days leading up to his suicide. Interestingly, the notable aspects of this film do not stem from the movie’s actual plot. History is typically told as a sequence of specific actions carried out by specific people. This format is devoid of personalities. Der Untergang presents history in a much different light. By following Hitler through his final moments, moviegoers become intimately familiar with Hitler’s plight. In taking such a detailed glimpse, the cold, hard man becomes almost human; it is this approach to portraying German history that has sparked criticism and discussion. One author proposes (and hopes) that, “though [Hitler] and the Third Reich will not and cannot be forgotten in Germany, he is being starkly, realistically, and humanly, portrayed precisely in order to more fully and finally lay him to rest” (Bendix 72).

("Uncle Hitler" enjoying the singing of children.)

Another film that makes the same attempt to humanize the sterile events of the past is Das Leben der Anderen (The Lives of Others). This film tells the story of a writer and his actress girl friend, who are under round-the-clock observation of the Stasi. (Stasi is an abbreviation for Stadt Sicherhiet, which translates into state security.) However, Georg Dreyman, the writer, loves his socialist state and gives the Stasi little reason to doubt his devotion. It is in the character of Gerd Wiesler, a Stasi captain following the pair, that a transformation occurs. He goes from a rigid, emotionless character filled with hatred for enemies of the state to a man that breaks laws to protect those he is monitoring.

Just as with Der Untergang, Das Leben der Anderen has, “stoked a debate about how the country should digest the Communist legacy of the East” (Boyes 33). What effect does the humanization of Stasi officers have on how moviegoers interpret the past? It may be that giving evil characters a personality incorrectly portrays the hate that was pervasive in the 80s in East Germany, and this angers critics. One critic offers that, in “The Lives of Others, there’s no Hitler, no Goebbels. […] Von Donnersmarck is dealing with entirely new generations, the children and grandchildren of the purification dreamers” (Jacobsen 71).

It cannot be underestimated how important it is to attach personalities to events in time. German history has left the country with multiple events that are difficult to handle, and dialogue between oppressors and the oppressed must occur before the country can move on to a happy future. Attaching personalities to events convinces the moviegoers that people can change and that they are good at heart. Captain Wiesler for example initially comes off as a man set in his ways. There does not appear any hope for his character to exhibit any emotion, but the audience witnesses his transformation. In one shocking scene, movie viewers see Wiesler shed tears for his enemy. As a Stasi officer who makes the decision to cover up the truth, his career path is forever altered; he is relegated to the perpetual task of opening and delivering mail.

(Tears roll down Wiesler's face as he sympathizes with the enemy.)

(Wiesler being told that his career is over.)

Through the lens of Das Leben der Anderen, the necessity for German cinema to move on from WWII is apparent. This step is needed, as the painful post war occupation period has been neglected. Opening new discussion may open old wounds, but the discussion leads to healing. The vitality of the German nation in the future depends on this healing. Jacobsen phrases is beautifully saying, “The proposition that The Lives of Others puts forth […] is both rehabilitative and romantic: that by shining light on the German people’s second go-round at “socialism” the reunified Germany can begin the new century at last” (72).

Works Cited

Bendix, John. "Facing Hitler." German Politics & Society 25.1 (Spring 2007): 70-89. Academic Search Complete. EBSCO. 11 Mar. 2009 .

Boyes, Roger. “Ostalgia Made History by Film Expose of the Stasis.” The Times (London) 15 May 2006: 33.

Jacobson, Harlan. "The Lives of Others.” Film Comment 43.1 (2007): 71-72. Research Library. ProQuest. 11 Mar. 2009 .