Review of The Lives of Others (2006) by Steve G — 13 Feb 2013

Similar to the communist witch hunts that alarmed American's in the 1950's, "The Lives Of Others" offers a riveting view of life behind the Berlin Wall. It's 1984 in East Berlin and Capt. Gerd Wiesler (Ulrich Muhe) is a secret agent of the Stasi, who investigate people who are suspected of undermining government authority. But his newest subject has an unanticipated effect on the Captain. He sits in an attic day after day, night after night, spying on the people in the flat below.

The flat is occupied by a playwright named Dreyman (Sebastian Koch) and his mistress, the actress Christa-Maria Sieland (Martina Gedeck). Wiesle first saw Dreyman at the opening of one of his plays, where he was informed by a colleague that Dreyman was a successful man. Dreyman is good-looking, successful, with a beautiful lover; he must be getting away with something. Driven by suspicion, or perhaps by envy, Wiesler has Dreyman's flat wired and begins an official eavesdropping inquiry. Though von Donnersmarck accords Dreyman and Crista a fair amount of screen time, their roles are to act as catalysts. This is Wiesler's story and, although there are moments of tragedy, it's ultimately one of redemption.

Wiesler is a fascinating character in that he is a blank slate if you will, trained by his life to reflect no emotion. Sometimes not even his eyes move. As played in Muehe's performance of infinite subtlety, he watches Dreyman as a cat awaits a mouse. And he begins to internalize their lives, because he has no life of his own; no lover, no hobbies, no distraction from his single-minded job. Wiesler has no one he can really talk to. His gradual transition from loyal soldier to actual human being is what's most compelling throughout.

The seduction depicted in "The Lives of Others" is inadvertent. Wiesler is enticed by the possibility of art, meaning, and love, all of which are absent from his existence, but present in that of Dreyman and Crista. Wiesler lives in a bare apartment, with nothing to distinguish it from a hotel room and, when he desires company, he calls a prostitute. By listening to Dreyman and Crista, he discovers the potential of a more fulfilling existence. Eventually, his desire to be part of something meaningful leads him to act to protect the couple, even though his actions violate the law and place his career in jeopardy. Gripping and arresting drama from first time director Florian Henckel von Donnersmarck is masterfully executed. Ulrich Muhe gives a phenomenal performance, a film that will stand the test of time. Oscar winner as Best Foreign Language Film.