I went to see "The lives of others" (Das Leben der Anderen, Germany 2006) the other day.
It is one of the most subtle, human films I have ever seen, and it is a great German movie - I would recommend anyone interested in human drama to go see it.
The story centres on a Stasi operative, Wiesler, and the couple he is ordered to monitor, playwright Georg Dreyman and his partner/girlfriend, actress Christa-Maria Sieland.
Trying to talk about the film without spoilers, I can say that there is great acting - particularly by Ulrich Muehe, who plays Wiesler. Wiesler's job basically means he has no overt facial expressions - however, Muehe is able to communicate to the audience the emotions that Wiesler is going through without resorting to much (action).
Each character is given time to develop, and is realistic both in their flaws and development within the film. Everything is understated, and the audience is insinuated what to think, rather than told as in many Hollywood movies.
So much could have gone wrong in such a film, I mean, I sat there thinking of numerous ways it could go if it was a Hollywood film. But it doesn't fall into any of the traps, and what we have in the end is a great film.
Spoilers now, so those who want to read it, press [CTRL]+A
What I liked most was the way it starts off, Wiesler being an intelligent socialist, with a little contempt for his friend and senior officer, Grubitz. Wiesler is the one who tells him they should look at Dreyman. His interest is further piqued by the appearance of Christa-Maria Sieland - he sees Sieland and Dreyman's embrace after the play.
So at first, it seems to be lust and curiousity about Sieland that grabs Wiesler. However, during the course of the operation "Lazlo", things slowly change - from mere lust to a more intellectual interest - as seen when he sneaks in to their apartment and steals a book by Brecht, or how he cries when he hears Dreyman play "Sonata for a Good Man" on the piano, after Jerska's suicide. In fact, Wiesler has changed into a man not just with caring for the two in question, but has grown an awareness of the arts (also, his apartment which we see early on, is bare).
Until Jerska's death, Dreyman is a little troubled but not enough to risk his "life" for the dissidents of the socialist regime. And things starts changing from then on.
I liked how this film, and issues inside, are never over-dramatic/melodramatic. Also the characters are not flawless.
Wiesler tries to do what he can do, albeit from a standpoint of a cog of a machine which he does not have any power over. What he is, is a man who understands his responsibilities and his job, and is hard-working (as we see in the last few scenes when he is putting flyers in the post).
Dreyman, also, is not flawless in a sense that he doesn't act until Jerska's death - he is naive too, about the powers of the government/Stasi. Well, an artist.
The story finishes well, I thought. I thought it might have ended when the wall came down. I didn't expect a epilogue, in a sense, with Dreyman finding out the (almost) truth with Wiesler. The two do not meet in the end, but there is a great bond between them - the most touching scene, I thought, was when Dreyman was standing outside of the taxi, watching Wielser while he carried on with his work.
Also, a nice touch to see the young officer (Axel Stigler) who told that joke about the party leader to Grubitz and Wiesler in the canteen, to be the one who is listening to the radio as the wall comes down - in the same post room as Wiesler, but sitting behind him.
(N.B. - I have read the Wikipedia entry for this movie, and some aspects I do not agree)
It is a sad and beautiful movie, and well worth the money to go see it. Actually, it might well be worth a DVD. Along with "Open Hearts" (Elsker dig for evigt, Denmark 2002) it is one of my favourites for human drama.
