Review of Enemy at the Gates (2001) by Bernard P — 10 Jul 2009

One commonly does not expect to find such exceptional acting in a film dealing with war, inasmuch as in this genre the horrendous events themselves convey the salient story, leaving the players to be buffeted by the exigencies. Director Jean-Jacques Annaud evidently had a very different notion and ascertained that the plot itself must not be allowed to succumb to the historical events. With superb directorial perception, he prevented this film from deviating into another yarn about the Battle of Stalingrad in 1942, by elevating the Sitz-im-Leben of the characters, and by eliciting the enormous acting potential of the players. And they do not disappoint. Jude Law, Ed Harris, Rachel Weisz, Joseph Fiennes, and Bob Hoskins excel in their respective parts, and they are all deserving of kudos. But none more so than Harris, who in the role of the emotionally challenged major Konig(he grieves the loss of his son in that war) gives an astounding performance, an acting lesson that must be seen by every aspiring thespian. **********.

**** ADDENDUM(October 01. 09). The film is even more riveting than when I first reviewed it. Some comments were tossed about that it might be the best war picture--ever made, and even better than Saving Private Ryan. Not at all. RYAN is filled with movie stars. ENEMY AT THE GATES, conversely, with actors. Jude Law and Rachel Weisz's love scenes, such as they could be in an extreme war zone, are poignant to the point of weeping because it appears that the lovers will only have an unrequited love. Yet their love is so profound, and Weisz plays her role so brilliantly as if she had actually been present in that time and locale. She takes Vasily's hand(because the light where they are sleeping like sardines is dim)soiled from gunpowder and plain filth and wipes it all over her face, as a moving sign of her affection. This is a 'must see' film, not on account of the tragic war story, but because of being a witness to how people are behaving during the calamity of war; how they are capable of living out life, no matter how wretched, with a seemingly grotesque normalcy and even dignity; and how conventional the catastasis appears to all the players. I know it is true. I grew up in war. I was there also, not in Stalingrad but elsewhere. It all seems so otiose but, despite his many critics, Jean-Jacques Annaud got it right. Annaud showed that good motion pictures can reflect the human condition. I extend my inestimable gratitude to him.