Wednesday, February 11, 2009

The Reader ****

Director: Stephen Daldry
Cast: Kate Winslet, Ralph Fiennes, David Kross
Bruno Ganz, Alexandra Maria Lara, Volker Bruch, Lena Olin

Exploring the notions of guilt, emotional restraint, literature and survival, Stephen Daldry's "The Reader" reaffirms the director's ability to deliver films that are capable of serving as erudite, if sometimes too cerebral, essays, emotional time bombs or both.
Mostly set in Germany, the plot centers on the life of Michael who as an older man (Fiennes) reflects on his past and remembers the summer when he was fifteen (played by Kross who is a true revelation) and met Hanna Schmitz (Winslet), a tram conductor in her mid thirties who in a way exerted great power over his entire life.
After she aided him when he got sick on his way home, the two began an affair during which he explored his blossoming sexuality with the older woman, who asked nothing in return but to have books read out loud for her.
One day when he goes to her apartment, Michael discovers that Hanna has disappeared; he sees her again almost ten years later when, as a law student, he attends a trial against Nazi criminals where Hanna is one of the accused.
Still hurt from the way she abandoned him years before and somewhat disgusted by the fact that he loved someone who might've murdered people in concentration camps, Michael comes to an ethical and moral dilemma when he realizes he has information that might change the course of Hanna's verdict.
But "The Reader" isn't half as easy to absorb as a synopsis would have it seem, its implications go deeper and touch on several levels of humanity and even the lack of it.
"The notion of secrecy is central to Western literature" exclaims one of Michael's professors, "you may say the whole idea of character is defined by people holding specific information which for various reasons, sometimes perverse sometimes noble, they are determined not to disclose."
Based on the brilliant book by Bernhard Schlink, the film adaptation is above all a fascinating ode to literature and how we write other people's roles in our own (his)story.
Not in a fantastic way, but as in the means we have of perceiving others. Hanna therefore switches from being "heroine" and "villain" to Michael who as a kid worships her, but during the trial seems to understand her strange behavior (even their sex life "first you read to me, then we make love" was like a regime of sorts) while abhorring her existence and their relationship.
During one chilling scene Michael learns how Hanna chose the people she'd sent off to kill; she'd usually go for young, vulnerable, sickly types who read out loud to her and actually thought they'd be safe as long as they stayed under her care. For the witnesses, the mere idea sounds perverse and evil, to Michael however it's even more affecting because he sees himself as those victims: in a way he played their very role.
Several situations within the film lead to various degrees of "reading" and none dare to proclaim they have an absolute truth.
Among these situations is the idea of Nazism itself, "The Reader" isn't about the Holocaust or good vs. evil within this context; it elevates itself in order to cast a wider net of possibilities.
Notice how there is nary a sign or symbol of Nazism in the entire movie, we never see a single swastika or any sort of extermination footage a la "Sophie's Choice". The only time we even see a concentration camp is when Michael visits one, but consider how if we didn't know the context it could appear to be an empty warehouse.
We never see Hanna wearing an SS uniform or killing anyone, but like Michael we're led to draw our own conclusions ignoring her "big" secret (a twist of sorts that is brilliantly underplayed by a masterful editing job) one that may not absolve or justify her, but definitely casts her under a different light.
In the film's most haunting moment, Hanna attends the day of the trial when she will be sentenced. She wears a dark suit and tie that give the illusion of a severe uniform; upon entering the room she is welcomed by cries of "Nazi!" and boos from the crowd, who in her sober dress choice detect perverse defiance. Their case of imaginary Nazi imagery is only more affecting because it serves as a bleak metaphor for what has remained the "elephant in the room" for entire generations and a whole country.
It's been made a standard of sorts by the media to assume that Jews were the only victims of the Holocaust, and while their extermination is one of the darkest pages in history, little has been made about the consequences it had on others, least of all Germans.
Touching the subject of German Holocaust guilt is certainly quite uncommon and doing so by using a highly sexual, seemingly shallow analogy might not be the easiest choice, but by reducing two extremes to just people, the film is able to encompass more than it appears to be doing.
This is anchored by the sublime performance by Kate Winslet who doesn't care if the audience likes Hanna or not as long as she remains true to herself.
The actress, known for her colorful performances usually playing rebellious characters, gives Hanna an affecting, pragmatic dignity.
When she engages in the affair with Michael, she doesn't allow her to ask if what she's doing is right, for Hanna sex is something natural and sometimes she hints at vulnerability by the fact that her detachment is perhaps the only way she knows of providing love.
In the trial scenes, where Hanna only speaks when questioned, Winslet's eyes are filled with rage, confusion and despair; but the cold, commanding way in which she delivers her lines offer something quite different.
When confronted by the judge about her actions while working for the SS, she asks "what would you have done?", for Hanna the question is logical, for those listening to her it's the justification of a monster. Winslet turns her character into an unkowing seductress who remains ignorant of her effect on people, not because she plays the fool, but precisely because she allows others to project themselves into her.
It's remarkable that by film's end it's almost impossible to describe Hanna, because calling her a martyr, victim, villain, criminal, monster or any other adjective would be reducing her to an archetype and to do so would imply that you're also limiting the events she was involved in to a cliché situation with just two possible outcomes and instantly recognizable motives.
By making Hanna Schmitz someone you could actually love Winslet delivers one of the greatest performances of her career.
It's not an accident then that the film doesn't highlight the May/December nature of Hanna and Michael's affair (age of consent in Germany is much lower than 18), most of the audience after all will choose to understand this is wrong, or will they?
The movie daringly pushes the audience to ask themselves who are they to condemn and to judge. Why is one crime bigger than another? Why are some people more vulnerable than others? Was Hanna being a patriot by serving the SS? Who makes up the rules for things that happen after wars? What exactly makes Hanna guiltier than Michael?
"How do you know when you've no idea what it means?" asks Michael to Hanna after she declares a line in Greek to be beautiful. This simple truth can also be applied to the larger shape of things.
Not so surprisingly as it approaches its end the film seems to return to its literary source by becoming cyclical (Michael becoming as impenetrable as Hanna). It almost ends where it starts, offering more questions than answers.
As the older Michael, infused with a sterile conviction and guilt by Fiennes, approaches a Holocaust survivor (a superbly complex Olin who shines in one scene) you sense there is still a disconnection with the past and present (which might be hard to fathom for some viewers but actually plays a significant role in creating the whole mood of the film, while enhancing the theory of German survivor guilt).
It should result ironic that this woman, who wrote the book that helped convict Hanna, seems to have no grasp of the fact that she also might have aided in the imparting of injustice.
Perhaps another film would've attached these scenes with facile, didactic resolutions and moral compromises, "The Reader" doesn't even try, instead offering yet another intellectual dilemma by forcing us to wonder if lives can ever be summed up by words.


Mark said...

I always get a little sad when someone has a glowing review for The Reader because it's less fuel for the "TDK SHOULD HAVE BEEN NOMINATED!!1" fire. I'm so pathetic.

But anyway, glad you liked it ;)

Michael Parsons said...

Well Jose, you had a different take then I did that is the beauty of film, such different takes it has. Will you be doing some year end awards?

Matt said...

i'm glad you liked this. it's gotta such unfair reviews. Very in depth analysis. I think Kate will win for this one, though I slightly prefer anne. really great movie with interesting ethical dilemmas.

Jose said...

Mark: I never really got into the whole TDK thing so that would make my opinion obsolete in this matter, so don't worry hehehe. I do think "Frost/Nixon" is offensive, ridiculous and just plain unnecessary, and it should be the one enraging Batman fans not "The Reader".
Although if I could I'd placed "WALL-E" in Best Picture instead of TDK.

Michael: Oh no, by the time the Oscars are over I'm simply exhausted. I recover with the summer blockbusters and classic movies on DVD.

Matt: I know right. I can't believe how several people have gone on a hideous campaign against it, they should first read the book, then see the film and realize that Daldry captures beautifully the "literacy" of the book. Making it about the Holocaust, sex or illiteracy is truly disgusting, but shows that perhaps the film wasn't meant to appear when it did. I'm sure time will do it justice. Oh yes go Anne! I'm rewatching "Rachel" this weekend, but I've been on a Hathaway love rush lately.

woodstock said...

now i can say i'll be more than satisfied when kate finally gets her oscar. i'd be glad too if anne got it, even if i haven't seen "rachel" yet. but kate winslet was simply breathtaking in "the reader"!! she was so dominant of her craft that there were moments that all the winslet disappeared and suddenly there was only hanna schimitz. terrifc job and terrifc movie!! it should win bp too [yes i'm dreaming!] - so this and milk are the ones i'm rooting for.

Samakshi said...

Great review Jose, I really liked the movie too, and ofcourse, Kate winslet in one of her most mature and deservedly awarded roles..

PS: This place is a treasure chest of sorts :) Keep up the great work!