The most frightening
things I can remember from my childhood in New York were the blackouts
and air raid sirens during World War II and listening to the voice of Adolf
Hitler on the radio. It was a voice that sent chills down my spine. That
hypnotic voice, that chilling presence, is nowhere to be found in Oliver
Hirschbeigel's Oliver Hirschbeigel , a powerful but novelistic account
of the events that took place in Berlin during the final days of the Second
World War. Bruno Ganz portrays the Führer as a broken and defeated
man, stooped and palsied, raving about how his generals betrayed him, yet
being kind to his wife Eva Braun (Juliane Kohler), his secretary Traudl
Junge (Alexandra Maria Lara), and his dog Blondi. It is a strong performance
and his character fascinates us, yet Ganz' fiery rants as the Führer
seem to be overly studied, not emanating from the core of his being.
The film is based on Inside
Hitler's Bunker: The Last Days of the Third Reich by Joachim Fest and
the memoir Until the Final Hour: Hitler's Last Secretary by Traudl
Junge and Melissa Muller, and is shot mainly within the confines of a closed
space that approximates the dimensions of the real bunker. In that oppressive
atmosphere, Ganz recreates the physical deterioration and emotional instability
of the Führer who remains steadfast while everything around him is
crumbling. Although faced with certain defeat, soldiers are still being
sent to their death while Hitler insists that "every square meter" of German
territory must be defended or left behind as "scorched earth". Those that
do not fight are shot on the spot as traitors.
The city, however, is
unable to defend itself against the continuing onslaught of Russian troops.
Although military men know that there is no hope, no one is willing to
challenge the Führer's orders or attempt to seize power. Many opt
for suicide or go on drinking binges to obscure the failure of the military
effort, although by that time, one of Hitler's chief objectives had been
achieved with the annihilation of two-thirds of European Jews. As Hitler's
wife Eva Braun throws lavish parties, the sound of artillery shells and
bombs shake the bunker's walls. Both Eva and Traudl are shown as being
so infatuated with Hitler that they dismiss reports of military failure
and imminent death. Juliane Kohler portrays Eva Braun as a decent but superficial
young woman, thinking only of serving the Third Reich. Lara depicts Traudl
as young, apolitical, and hopelessly naïve, the way Traudl views herself
in her memoirs without ever discussing the impact her father's Nazi membership
had on her life.
Hirschbeigel prides himself
on his adherence to the truth and Downfall is, by and large, historically
accurate.
The film, however, singles
out a few individuals for being "good Nazis" and does not always tell the
entire story. One idealized is Albert Speer, Hitler's architect, who tells
the Führer that he did not follow his orders to destroy the infrastructure
in German cities. This did take courage, yet Speer's organizational genius
is said to have prolonged the war for at least a year, with the consequent
death of hundreds of thousands and widespread ruin. Hermann Fegelin, Eva
Braun's brother-in-law is shown as being ready to question the fawning
mentality of the German army, yet he was also a member of the Nazi SS,
responsible for the killing of thousands of Jews. In another half truth,
the doctor, Professor Schenk appears to be a selfless hero in treating
the wounded, yet this was the same man who was responsible for the death
of hundreds at Dachau during forced labor projects and medical experiments.
Despite its weaknesses,
Downfall has a great deal of merit and it should be seen if only to appreciate
the insanity of war and what can occur in a country where basic freedoms
are denied. Of the many outstanding performances, two that deserve mention
are Ulrich Matthes as the cold hearted Propaganda Minister Joseph Goebbles
and his wife Magda played by Corinna Harfouch. The sequence in which she
calmly poisons her six children because she does not want them to grow
up in a world without National Socialism are among the most horrifying
I have ever seen. Another performance worthy of mention is that of 13-year
old Donevan Gunia whose Peter Kranz represents the crumbling façade
of the Hitler youth.
At the end, Hitler is
a pathetic shell of his former self who refuses to admit his mistakes and
begins to suffer from depression, spending his hours thinking of the best
way to commit suicide. No compromise or surrender is ever contemplated
though it might have saved thousands of lives. Hirschbeigel wants us to
see that Hitler was just a flawed human being but human nonetheless. If
this helps the German people to release feelings of guilt, it will have
made a big contribution to world sanity. However, showing that Hitler had
a human side does not help us to understand the man or his abhorrence of
"the dirty and degrading chimera called conscience and morality," as well
as "the burden of free will" and "personal responsibility" which he thought
should only be left to those in positions of power.
Hitler may have been a
good boss to his secretary and a kind husband but he never showed any signs
of remorse when people died because of his actions. It was reported that
Hitler used to laugh when Joseph Goebbels described the sufferings of the
Jews. He once remarked that a guilty conscience was a Jewish invention.
If he had some human qualities, they pale in significance with the breadth
of his crimes that have attained an almost mythical dimension. In his devotion
to achieving his ends through the use of unbridled physical strength and
cruelty, he surpassed all his predecessors in his inhumanity and those
are the terms in which he should be forever defined.
GRADE: B+
Howard
Schumann