“Der Undertang” (The Downfall) Reviewed

One of the funny things about film is how easily you identify with the main character.  Even when the character starts to do crazy things you still find ways of hoping for peaceful solutions.  In modern film you get lazy, most of the time your protagonist fits into an idyllic hero category and there is never any further reason to question their motives or actions, they do the “right” thing.  For the first half-hour of “Downfall” I was confused I didn’t see any point in it, what was it trying to say?  I was following the character’s story but it wasn’t tying up with my knowledge of WWII.  The film makes the basic assumption that it doesn’t need to tell you what you already know, you are asked to watch the film and use your brain at the same time, fitting the pieces together to create a picture of those most sympathetic of people, the Nazis.

“Downfall” doesn’t tell the story of just any Nazis rather what we see is an interpretation of what happened in Hitler’s (Bruno Ganz) final days.  His inner circle is crumbling, military commanders know they have lost, advisors are fleeing, and not everyone is willing to drink the Kool-Aid.  Through the eyes of his secretary Traudl Junge (Alexandra Maria Lara) we see the dawning realisation of defeat creep through the bunker.

Traudl has spent the war oblivious to the horror outside she not Hitler is the one we identify with.  Her ignorance is enforced from the start of the film when she is cushioned and relatively safe inside the fortified bunker.  She cannot judge her military co-workers by their actions, only by their (convincing) words and emotions.  These are truly brainwashed people so committed to an insane cause that they see no innocent bystanders and it is a slow process for Traudl to have her eyes opened.  There is no stunning epiphany here, hooks are deep as is the bunker.  The film deals with the complex themes of innocence of the German people and complicity in the Nazi cause.  It assumes a basic knowledge of history and that will help as you try to work out whose who as Nazi elite argue and bicker in the bunker.

The story is well told, there is occasional visual flair, and the acting is top notch, Bruno Ganz is outstanding as Hitler portraying as a man with depth rather than a one-dimensional caricature.  Alexandra Lara also performs well giving the right mix of teary eyed weakness and philosophical blindness.  Not to say that the film is without its weaknesses, but I didn’t notice them as I sat engrossed.  It is difficult to look for the nuances of modern filmmaking when there is so much emotionally involved.  To those who say that this film humanises Hitler, well that much is obvious, like it or not he came from the same make-up as you and me.  However to say this film makes a sympathetic character is completely untrue.  He is a desperate man and those around him once inspired by his ferocious belief now see it as a weakness.  His cause has blinded him to the reality of war.

Modern day Germany is not haunted by its past, in fact quite plainly most of Berlin is dedicated to telling visitors straight out, this is what happened, this is what our Fathers and Grandfathers did, we’re not going to justify it, but this is what went on.  It’s an acceptance that means Germany can look forward, it is noticeable that the allies have never accepted guilt for their atrocities, Dresden, Hiroshima, Nagasaki.

Der Undertang is the largest grossing German film ever and of course the bulk of it is domestic.  It would be a shame if this film was swept under in the rest of the world, it is a modern film and alludes to some present day situations and has much that is applicable in our daily lives and how we choose to live them.

(8/10)  Excellent new perspective on the war.  A film that doesn’t condescend and asks you to question your perceptions.