Review of The White Ribbon (2009) by Sindri — 20 Feb 2011

Crystal clear film language - The inner tension is constrained and the expressions of opinion are pointed with quivering effect in Michael Haneke's tenth feature.

In the foregoings of the first world war unexplainable incidents occurs in the north German village Eichwald, where most of the inhabitants work for the baron. The incidents who appear as some form of ritual punishment of random individuals disturbs the safety of the residents.

This ominous and fictitious tale about a pietistic rural community being bewildered by fear and doubt after a string of incomprehensible events, is told through an aging teacher's retrospective voice-over. Are the incidents random? Are they warnings? Are they acts of revenge? Or is it perhaps so that the inhabitants are being punished? With a shred of humor and warmth which is rarely seen from the expressive film artist Michael Haneke and which is the main contrast to this films gravitating tone, a precise and sharp minded portrayal of the boomerang effect that arose as a result of the one-dimensional upbringing of children that was practiced in Germany in the beginning of the 1900th century is sketched out. With verbal and physical ways of punishment the parents inculcated sin and shame in their children, which mislead the children into the primitive entanglements of fear and stagnated their development.

"The White Ribbon" opens with an accident that provokes a circulation of distressing events and leads towards the outburst of the first world war, the source of fascism, the second world war and Holocaust. The origins and the entity of violence has always been a favored motive in Hankes filmography, and with last years Palme'd Or winner the Austrian has concretisized his characteristic themes, nuanced his style and found a language that extends his expressions. Hanekes distinct though unforeseen filming and Monica Willis' abrupt editing transfers the characters suspiciousness to the viewer in this emotionally distant "Who-did-it"- crime drama, and with frequent use of the off-screen method and figurative descriptions, Haneke gives the viewer sensible impressions that underlines his aversion towards violence. This is Hanekes most aesthetic work, meticulously photographed by Christian Berger. The mood making black and white color is one of the films essential characters, the milieu depictions are credible reflection of the time period, the pace is discreet, the actors are rock solid and with this multi award winning co-production that was shoot in Germany, Michael Haneke and his collaborators has created an historical allegory that bears resemblance with Ingmar Bergman's "Fanny and Alexander" (1982).