Barbara (2012 German film)

Recently, I finally managed to see the 2012 German film Barbara, after purchasing the DVD.

The film, directed by Christian Petzold, is set in the German Democratic Republic, circa 1980.  Barbara (played by Nina Hoss) is a physician, who formerly worked at a prestigious hospital in East Berlin, but she has been "banished" to a small clinic near the Baltic coast, apparently as punishment for having submitted an application to leave East Germany. Essentially the movie centres on Barbara's relationship with her colleague Andre, who has some secrets of his own, and on the activities of some people wishing to escape from the DDR.

The first things which was noticeable to me about this movie were its "autumnal" hues, characteristic of many films about East Germany. Apart from being easy on the eye, this property also helps to capture the supposed drabness of life in the DDR.

Another strand which runs throughout Barbara is a pervasive atmosphere of wariness and guardedness amongst the characters. People may have been conditioned to suspect the motives and intentions of others, expecting to be betrayed or placed under surveillance of some kind.

If a mood of mutual suspicion and distrust was indeed a feature of the East German system, then this is shrewdly and effectively conveyed in this picture. Tension is created and accentuated by a certain quietness, and an uneasy tranquility.

Much of the dialogue is sparse and clipped, as if nobody wants to say anything incriminating or susceptible to misinterpretation. The unease and circumspection are palpable. However, this is all done in such a way that the viewer senses that most citizens knew the score and the realities of the security apparatus, and that there was an unspoken assumption amongst people about the degree to which people's lives were infiltrated and manipulated.

The "provincial" setting makes a welcome change from the concrete canyons which often dominate movies about East Germany. We see some different facets of the country and the system. Many of the scenes in the countryside are accompanied by very breezy weather conditions, and this complements the subject matter quite well.

Nina Hoss gives a highly believable and sensitive performance as Barbara, and Ronald Zehrfeld is also excellent in the role of Andre Reiser, The plot unfolds subtly and gradually, not giving too much away, but it is beautifully realised, and the result is an understated but highly affecting story.

To sum up, Barbara is an absorbing, elegantly produced and at times moving film.

Lotte In Weimar - Thomas Mann

Continuing my exploration of the works of Thomas Mann, I recently read his novel Lotte In Weimar, originally published in 1939.

This novel tells the story of a visit to Weimar by a woman who was the "muse" and inspiration behind the main female character in Johann Wolfgang von Goethe's novel The Sorrows of Young Werther. Charlotte has come to Weimar ostensibly to see her sister, but she becomes an object of fascination for the locals, and she has a reunion with Goethe himself.

The early chapters are very much consistent with some other Mann novels, with their vibrant and engrossing character, and their richness of detail. The passages which explore the closing stages of the Napoleonic Wars and the parallel political developments in Germany, and their effects on Goethe's family and social circle, are riveting. Conversations between Charlotte and a series of visitors serve as a fascinating examination of Goethe's personality, motivations and world-view.

Subsequent chapters were less appealing for me. Some space is taken up with a conversation which Goethe appears to have with himself, and which is delivered in almost a stream-of-consciousness manner. There are some nuggets of interest in there, though.  The narrative and the focus pick up again when the aforementioned Goethe-Charlotte reunion finally occurs.

Throughout Lotte In Weimar we see evidence of Thomas Mann's social and political concerns, largely told through the person of Goethe and others. The author's misgivings about developments in Germany during Mann's own time find echoes in a critique of  the upsurge of German nationalist sentiment during the early nineteenth century. The fact that this book was first published in 1939/40 must have furnished it with a contemporary resonance.  The political points are eloquently and sharply observed and outlined here.

So this is an intriguing and rewarding read, different in content and atmosphere to what I had anticipated.

Sonnenallee - 1999 film

I recently watched Sonnenallee, a 1999 German comedy film, directed by Leander Haussman.

This is a movie which I had been wanting to see for some little time, and I was glad that I did.  The work tells the story, set in the late 1970s, of a group of people living in East Berlin, very close to the East/West border. Indeed, the street on which they reside is "bisected" by the Berlin Wall itself. Some have friends or relatives living in the West.

The younger people are obsessed with "forbidden" Western rock and pop music.  One of the characters devotes much of his time endeavouring to obtain, by "unofficial" means, a copy of the Rolling Stones' Exile On Main St. album.

The main character, Micha, is preoccupied with his efforts to win the heart of the beautiful Miriam. Alexander Scheer excels in the role of Micha, and it is his performance which helps make Sonnenallee so endearing and entertaining.

As I watched the picture I found myself trying to work out which parts of the script were satirical and which were intended literally. The writers were undoubtedly poking fun at some of the GDR's shortcomings and absurdities, but I also gained the impression that they were seeking to get across the notion that the state had its plus points.  They may have been hoping to go beyond stereotypical portrayals, and in places could actually have been satirizing the West's often simplistic depictions of East German society.

There are some great "set piece" scenes in the film, some revolving around music, others looking at peculiar or noteworthy aspects of life in the GDR.  I enjoyed the parts which examined the issue of the smuggling of contraband from West to East.

Quite apart from the historical and political sub-texts, this is simply a very engaging and enjoyable film. I am admittedly highly receptive to the subject matter here, but I found this much funnier than most Western films of its type.

Ali: Fear Eats The Soul - 1974 film

Increasingly I have been drawn towards European art cinema, and in particular the simpler works with restrained production values, which make the viewer think rather than assaulting the senses with special effects and action sequences.

One such film which I watched recently only reinforced the direction of my movie-viewing habits.  This was Ali:Fear Eats The Soul, a 1974 film written and directed by Rainer Werner Fassbinder.

Set in Munich, the film focuses on the relationship between a 60 year old German woman (Emmi) and a younger Moroccan guest-worker (Ali).  They are subjected to much prejudice and hatred, and Emmi is ostracized by many of those around her, particularly after the pair get married.

The dialogue between the two main characters is very natural and charming, and I found myself rooting for the two main characters (Emmi and Ali), as they are both sympathetic and likeable.

As much as the relationship between Emmi and Ali is endearing and touching to behold, the attitudes of many of the people around them are troubling and disturbing.  I guess that Fassbinder was shining a light on the darker aspects of the German economic miracle, and of West German post-war society generally.

The contrast between the humanity and genuineness of Ali and Emmi, and the rigidity and bigotry of other people is very stark.  The film also explores themes of loneliness, isolation and alienation. The settings are quite austere and bleak, exacerbating these sensations. Interestingly, and disconcertingly, many of the issues brought up by this picture are still resonant today.

In addition to the other merits of the film, the acting is of a high order, and special praise has to go to Brigitte Mira, who plays the role of Emmi.  Fassbinder himself  acts in one of the supporting roles.

There is some fine symbolism in this movie, and Ali and Emmi are often shown alone, with other people either absent or at some distance, as if to emphasise how they are alone, shunned by the rest of the population.

Ali: Fear Eats The Soul I found to be an absorbing and engaging film, the kind of work which really makes people think.

M (1931 film)

Just recently I saw a mention of Fritz Lang's 1931 film M, on social media.  Having been transfixed and enthralled by the same director's epic Metropolis, I resolved to watch M.

The story is set in Berlin, and centres on the hunt for a serial killer who is abducting and murdering children. At some point members of the city's criminal underworld decide to launch their own hunt for the killer, although the purity of their motives is open to question.  Peter Lorre stars as the main suspect, Beckert.

From its beginning, this film displays a great inventiveness, grittiness and attention to detail, with much intriguing imagery and symbolism.  The opening scene, in which some children are singing a "chant" about the murder of children, is rather chilling and powerfully but subtly presented. There can't have been too many films tackling such dark and challenging subject matter in the early 1930s.

Peter Lorre is never less than compelling in the role of Beckert, and his "monologue" towards the end of the movie is both gripping and harrowing.

M has some interesting sub-texts, among which are society's attitudes towards children, the rule of law and the decencies of civilization. I interpreted one of the film's messages as being that some people are ambivalent about even such terrible crimes, and more worried about how their own private interests might be affected, whilst others exhibit an unpleasant ferocity and hysteria, shedding their powers of reason.

It is fascinating to note that even in 1931 it is posited that criminal cases have become media events, although back then of course the main medium was the newspaper.  The paranoia and distrust engendered by the murders is cleverly portrayed, accentuated by the generally dark tone and the sets.

One thing which occurred to me whilst watching this picture was a slight parallel with Erich Kastner's Emil and The Detectives. In that novel a group of youngsters try to solve a crime themselves. Here, the criminal elements do a similar thing, assisted by various locals, including beggars. Whether the similarity is significant I genuinely have no idea, but the two stories do appear to have been written around the same time.

I found M to be a highly absorbing film, cleverly conceived and asking some unsettling questions about modern society and human nature. Apparently Lang regarded this as his favourite among his own films, and that in itself is high praise indeed.

World On A Wire - 1973 movie

World On A Wire (German: Welt am Draht) is a 1973 German science-fiction movie, directed by Rainer Werner Fassbinder, and based on a novel by Daniel F. Galouye.  I recently watched this film, and found it both interesting and thoughtful.

The story revolves around a research institute, which houses a supercomputer.  The computer generates an "artificial world", a kind of electronically simulated environment. The chief scientist dies in mysterious circumstances, and there follows a series of unusual events and intrigues surrounding his successor.

One of the first things which I noticed about this picture is its pronounced "Seventies" aesthetic, in terms of stylings and decor. Personally I find such things very appealing, especially the austere and minimalist architecture, furnishings and so forth. There is also adroit and impressive use of mirrors in several scenes.

In all honesty, the general narrative is not of striking originality, but the minutiae are thought-provoking and clever. The movie explores the standard, well-worn science fiction themes concerning the uses (or misuses) of technology and science, and also the nature of reality and perception. Unlike some films of its ilk, it does not moralize with undue vehemence, but it does pose questions about whether scientific research and progress should fulfill a socially beneficial and benevolent function, and it examines the thorny issues of the conflicts between scientists and bureaucrats/politicians, the extent to which the boffins should be controlled and supervised by the "civilians", and the dangers of technology being subverted by commercial or private interests.

There is quite an ascetic flavour to the film overall, with a mild sense of disorientation heightened by music and sound affects, which are sometimes incongruous in nature.

Without giving away too much, as the movie progresses we get an impression of the blurred lines between "reality" and the simulated world. Elements of the plot I found rather ambiguous, and the latter stages of the work are confusing, but they do serve to exercise and stimulate the grey matter.

An interesting film.

The Berlin Wall - Frederick Taylor

The Berlin Wall, by Frederick Taylor, is a very readable account of the existence of that infamous symbol of the Cold War.

The author is quite trenchant in his opinions and his sympathies, and throughout he puts forward vehement criticism of the East German regime in particular.

I liked the mixture of material contained in the book, which alternates the grand strategy and political machinations with more personal and intimate stories and case studies of how individuals were affected, and their lives shaped, by the Wall.

Of particular merit are the chapters which examine the build-up to the Wall's construction, the tense period which followed, and the dramatic events of 1989 which culminated in the fall of the structure.

Overall, I found this book to be a stimulating and forthright analysis, refreshing in its directness and its sympathetic inclinations.

The Holy Roman Empire - A Thousand Years of Europe's History - Peter H. Wilson

I approached this book with a good degree of anticipation, having been greatly impressed with the same author's work about The Thirty Years War.  It is an exploration of the structure which ruled over much of Central Europe for many centuries.

The first thing to stress is that this is not a straight chronological rendering of the story, but more of a study. This has advantages and disadvantages, as the book's structure might make it heavy going for some people. Nevertheless, it is remarkable for its level of insight and detail.

Throughout the work Wilson challenges many of the traditional historical interpretations of the Empire's role and its efficacy (or lack of it). He focuses on how various aspects of the machinery functioned, and how they adapted over time in response to circumstances, new ideas and threats.

I think that the author manages to get underneath the veneer, and gets to the heart of the Empire's nature, the reasons why it existed, and why it endured for so long.

Personally, I would have liked more material about Charlemagne, for instance. However, the passages concerning "imperial translation" are fascinating and illuminating, as are those which address the Empire's complicated relationship with the papacy.

Some persistence is required to cope with the surfeit of information contained here.  I re-read some sections, and found this beneficial. The trick is not to visualize the Holy Roman Empire as some fully rational, balanced, symmetrical entity.

One element which emerges is how some social groups felt that they fared better under the Empire's arcane arrangements than they would have done under more "enlightened" systems.

The closing sections of the book deal with the Empire's demise in the aftermath of the French Revolution and under pressure from Napoleon.

A very demanding but rewarding read.

The Tunnel (2001 film)

Der Tunnel (The Tunnel) is a German film, released in 2001, and directed by Roland Suso Richter.

The movie is set in the 1960s, and is loosely based on the true story of a group of people in West Berlin who excavate a tunnel under the Berlin Wall in order to allow some relatives and friends to escape from the East.  We follow the often precarious tunneling operations, the hazardous border crossings made by members of the team and the efforts of the East German authorities to infiltrate and thwart the escape plan.

My view is that the film is not especially profound in its insights, and it is relatively sparing in its use of the philosophizing which often permeates films which deal with similar topics. However, it is well made, quite moving in places, with sober, grey and austere visuals. In addition, the acting is generally of a good standard.

Although I found myself rooting for the tunnelers and their friends, some of the tone of the film is ambiguous. Those who have escaped to West Berlin don't always find things as wonderful and straightforward there as might be imagined. 

This is a film which demands close attention, because there are necessarily plenty of nuances in the plot, especially in the parts where people are captured, interrogated and/or blackmailed by the East German secret police.

One feature of the film which stuck with me was the distrust and paranoia which appeared to be prevalent on both sides of the Wall. The tunnelers were suspicious of everybody, and took rigorous security measures in a bid to safeguard their plans.

As this picture progressed, I found myself becoming emotionally involved, and feeling for the participants. Their fear and anxiety were palpable, but so were their resolve and determination. I also found the blackmail by the East most unsettling, and recognized that the people affected by this were placed in an impossible position, and it is unfair for us to judge them too harshly.

Perhaps the most powerful scene in the film is the one where border guards shoot a young man, the boyfriend of one of the tunnelers, who is trying to escape to the West. Ordinary people caught in the crossfire, and used as pawns in the game. That scene I found quite unflinching, in depicting the pitiless nature of the struggle.

Heino Ferch delivers an excellent, authoritative and believable performance as the main character Harry. A resourceful, resilient and humane person who rarely seemed to lose heart or his nerve.

The ending to the movie is tense, emotional and adroitly captured and paced.

This is an entertaining and, in places, compelling film.

Lenin.....The Train (1988 TV movie)

Lenin.....The Train is a TV movie from 1988, which chronicles the railway journey made by Lenin and his associates from Switzerland,via Germany, to Petrograd, in the run-up to the October Revolution. Ben Kingsley stars as the Russian revolutionary.

The film begins with a look at the tortuous negotiations between Lenin's people and the German authorities, the Germans being anxious to help Lenin with his revolutionary programme, as a means of getting Russia out of the First World War. Of course, negotiations also took place between the various Russian factions.

In some respects this is your typical TV-movie fare, but the gravitas and the general quality are elevated somewhat by the standard of the acting, Timothy West standing out in this regard. Initially, my opinion was that Ben Kingsley should have adopted a Russian accent, and that this was necessary to imbue the picture with authenticity. However, by the end I had concluded that this was no major issue, as Kingsley's mannerisms and gestures are very consistent and believable, and convey a distinct persona.

I feel that the movie portrays Lenin as the voice of reason and moderation, his sole objective being to instigate and foment the Revolution. To him, hotheads and indiscretions posed a threat to the prospects for the entire enterprise. Lenin knew that some emotions had to be suppressed, so as not to endanger the quest for the main prize. A plus point is that this film depicts the Bolsheviks as reasonably normal people, not as overly fanatical, belligerent or obsessive.

This movie contains repeated reminders of the futility and injustice of the war. When one looks at the tasks which the troops on all sides were being asked to undertake, it is a wonder that revolutions did not break out in all of the combatant nations. Whatever one thinks of the Bolsheviks, there is a case for arguing that they did the world a favour, by forcing the "democracies" to adopt more enlightened policies and attitudes. The soldiers and the masses had been acquainted with potent new ideas, and their co-operation and deference could no longer be taken for granted.

The picture concludes with the arrival of Lenin's train in Petrograd, an the film-makers thereby cleverly avoided having to cover the October Revolution itself.

Lenin.....The Train is surprisingly good and "learned" for a made-for-TV production The acting clearly lifts it, as does a sensitive and balanced exploration of many of the crucial issues.

Rosa Luxemburg (1986 film)

The movie Rosa Luxemburg, released in 1986, and directed by Margarethe von Trotta, is a biopic (of sorts) of the German-Polish revolutionary and activist. Barbara Sukowa plays the title role.

I say a biopic of sorts, because the movie does not cover the whole of her life, although there are a few flashback sequences, referring back to her childhood.

For much of this picture, there is a dark atmosphere of foreboding and oppression, often with a backdrop of snow and overcast skies. I personally found this to be galvanizing rather than discouraging. Some of the most powerful and effective imagery is of Rosa trudging around prison yards in the snow, accompanied by her poetic reflections and commentary.

In addition to the above, a good deal of the running time consists of Luxemburg arguing (often at the dinner table) with her "comrades" regarding strategy, tactics and theory. If some of the settings here are an accurate reflection, then it seems that Luxemburg and her friends and associates lived in a good deal of comfort and luxury, when they were not locked up in prison, that is.

I like this film, partly because it deals with European history and politics, and partly because it is imbued with the notions of learning, ideas and books. The period sets, costumes, decor and so forth, are impressively, if soberly and unobtrusively, done. The scene which depicted a "turn of the century" ball was nicely effected and presented - this is an area where many similar pictures fall down.

The theme for much of the movie, as I interpreted it, was that the subject was principled but headstrong, and often despaired of her older, more pragmatic and conservative colleagues, and their more measured approach. There is almost as much focus on her emotional and romantic entanglements as on the political arena, partly because such areas may illustrate some of the personality traits which helped to determine her destiny and her fate.

I was intrigued by her advocacy of mass action, rather then relying totally on the drudgery of party politics and parliamentary procedure and compromise. She kept receiving promises from her party leaders, but one suspects that they were empty promises, designed to placate her temporarily, though there is merit in the argument that a hasty or ill-prepared "revolution" might be self-defeating.

She was wrong, initially at least, to claim that there would be no mass support for the war which commenced in 1914, but was ultimately proved correct in many of her observations about the effects which the war would have. I thought that the film dealt with this stage of Luxemburg's life quite honestly and deftly, illustrating her despair,resignation and disillusionment at the nationalist fervour which helped to propel Europe towards war, and eloquently summing up her views on how developments in the conflict could slowly turn the tide of opinion.

The chronology might confuse a few people in places, but the main thing is the overall effect. This is not a blandly hagiographic account, but at the same time it does have the effect of making one think beyond the smokescreens and bland over-simplifications which tend to dominate (in my experience) mainstream 21st century discourse and comment.

Barbara Sukowa's performance is admirable. Many movies of this type are marred by cartoonish or over-inflated portrayals of the main players, but here Sukowa delivers a reasonably plausible and convincing picture.

A good movie, not excessively preachy or partisan.  It is visually pleasing, soundly acted and adroitly presented.

Marianne and Juliane - (1981 movie)

Following on from seeing The Legend of Rita and Die Innere Sicherheit, I recently watched an earlier movie which covers similar subject matter,  Marianne and Juliane, directed by Margarethe von Trotta, and released in 1981.  Its German title was Die Bleierne Zeit. 

The film tells the story of two sisters who take different paths in trying to change the world.  It is fictionalized, but it is apparently based on the life of Gudrun Ensslin and her family.  Marianne pursues a course as a political militant, whilst Juliane works as a journalist/activist. The film focuses on the relationship between the two, and on Juliane's efforts to help and support her incarcerated sibling.

I was going to say that the movie has a bleak and gloomy aesthetic, but on reflection it is based on realism and authenticity.  So many films of this type try too hard either to faithfully recreate historical detail or to convey a "mood", and turn out as contrived. Marianne and Juliane is very different, and very natural and unforced.

The acting in the film has rightly been praised, but I must single out Jutta Lampe's superb performance as Juliane.  Very measured and very convincing, and those eyes.  Barbara Sukowa is also impressive. I don't think she is quite as good here as she would be in her later portrayal of Rosa Luxemberg, but she does manage to evoke some of the harsh, uncompromising but resolute nature of the Marianne character.

Some of the running time is occupied by "flashback" sequences from the sisters' childhood, but they don't necessarily give us straightforward or comfortable answers as to how the two people turned out as adults. The prison sequences are also beautifully and atmospherically captured.  The symbolism throughout the story is subtle, almost ambiguous (such as a statue of Bismarck), and in general the moral messages are the same.

Working out Juliane's true motives as things progress is no easy task, and it may be that they are left deliberately hazy. The story does not consciously set before us clearly defined moral choices or boundaries.  This is where much of the strength of the picture lies.  The view presented of the world is a nuanced one, where there are not two diametrically opposed points of view, but many different "poles", diverse motivations and perspectives.

Marianne and Juliane is a absorbing film, which is also a genuine story.

Die Innere Sicherheit - 2000 film - review

The German film, Die Innere Sicherheit (English title: "The State I Am In"), directed by Christian Petzold, and released in 2000, follows the experiences of two former terrorists and their teenage daughter, as they live in hiding, on the run from the authorities, first in Portugal and later in Germany.

The daughter Jeanne (Julia Hummer) yearns to sample the delights, adventures and discoveries of adolescence, but this has the potential to imperil her parents. A lack of money, support and accommodation forces them to take some desperate and risky measures, and at times their plight is miserable and stark.

Jeanne is the focus of much of the movie, and to be frank I found the parents, Clara and Hans, to be somewhat one-dimensional characters.  Julia Hummer's performance as Jeanne is a revelation, conveying the sullen demeanour and rebelllious streak of a young person who has clearly grown up in an surreal, unconventional and bewildering world.

The tone of this picture is dark and insidious, and these patterns are intensified by the fact that much is left unsaid, unexplained or merely implied, and left to the imagination of the viewer. The imagery and the terse dialogue are left to paint the picture and reflect the narrative. The editing is creative, sharp and even disorientating, exacerbating the oppressive and bleak mood of the piece.

To me, the "political" dimension of the story was secondary to the human dramas enveloping Jeanne, as well as her parents. A strong sense is engendered that they are ostracized from a society which would not understood them even if it sought interaction. A soulless and uncaring world is depicted, the settings being suitably austere and unwelcoming. People did not know who they were, but would have detested and shunned them if they had known.

When the fortunes of the family are at their lowest ebb, we are confronted with some harrowing and mournful scenes. Often there is little sound or dialogue, just doleful, empty or confused facial expressions and emotions, as they contemplate how to circumvent the latest obstacle or impending crisis.

The ending to the movie is suitably brutal and pitiless, but I detected a modicum of poetic justice in the outcome for Jeanne, however tragic it immediately appeared.  We do not discover, of course, how things later turned out.

Overall, this is a thoughtful and atmospheric film. Absorbing and quite unusual, and well worth people's attention.

The Legend of Rita - (2000 movie) - review

I recently watched the German film "The Legend of Rita", from the year 2000, (released in Germany under the name "Die Stille Nach dem Schuss), directed by Volker Schlondorff.  Somehow this movie had escaped my attention for the past decade and more, which is odd when I consider that its subject matter is the type which genuinely fascinates me.

The movie tells the story of a West German former urban guerrilla (Rita, played by Bibiana Beglau) who takes refuge in East Germany, and is provided with a new identity by the Stasi, and assumes the guise of an "ordinary" citizen in the socialist state.  She has to cope with the fear of her past being exposed, and thus causing embarrassment to the authorities of the DDR, and the fall of the Berlin Wall later complicates the situation further. Her relationship with Tatjana (Nadja Uhl) is also explored.

Once the preliminary sequences were out of the way, and the story settled into a portrayal of Rita's travails in her new life in the East, I felt that the film found its true identity. The "human interest" angles were sensitively done, and were quite touching at times, especially the friendship between Rita and Tatjana. The tension was palpable, as one kept expecting Rita's cover to be blown in some way, or for her "back story" to unravel, and this helped me identify with her anxiety and also appreciate the resilience and vigilance she had to summon up in order to cope.

There are clear allusions in this movie to real people, and to real-life events, but in the end it is a fictitious tale. This means that there was no need, or temptation. to pack in every historical anecdote and incident.  "The Legend of Rita" moves at its own pace, and on its own terms.

In my view, the early "action" scenes were a mixed bag, but I guess that they were essential to some degree for a full understanding of the background to the story. The rhetoric emanating from the mouths of the "terrorists" was occasionally corny, but it also helped to highlight and express their frustrations, their dilemmas and the disagreements which occasionally plagued their enterprises.

One of the central themes which the film articulates is how Rita's idealism and enthusiasm for the GDR "project" came up against the cynicism and apathy of the East German people who she encountered. As much of the story is set in the 1980s, the penny had clearly dropped with the populace by then. I ended up seeing both sides of the argument, acknowledging the stultification which the East Germans had endured, but also perhaps sensing that Rita had really "found" herself in her new environment, having escaped what she perceived to be the numbing effects of consumerism and the "rat race".

"The Legend of Rita" also raises the old question of theory versus reality, with the main protagonist being brought face-to-face with the pragmatism which real life, bitter and sour experience, and empirical evidence,  instill in people. Fine and lofty words and ideas are all well and good, but they don't always work in practice, or satisfy the basic aspirations of the masses. There is one very instructive scene, just after Rita has made the decision to remain in the East, when Erwin, the Stasi man, does his best, using some oblique language,to warn her what she will be up against.

It would be easy to accept that the film presents an image of uniform greyness, austerity and conformity in East Germany, but that is not quite the impression which I formed. We see many attitudes, problems and practices which have a universal resonance, including mental illness and alcoholism.  Yes, the tone and the atmosphere are primarily dark, but isn't this everyday life, for most people, wherever they happen to live?  The picture which was painted was to me rather nuanced and credible.

Two acting performances really stand out.  Bibiana Beglau is excellent as Rita, conveying her complex personality, which has perhaps partly been conditioned by her unorthodox life. A mixture of insecurity, courage, resolution, fear and even fatalism. Nadja Uhl is very engaging as Tatjana, bringing out her character's vulnerability and her humanity. The scene where the two characters part I found very moving, and also tough to watch.

I found this picture to be more plausible and well-executed than most works which cover similar territory.  The understated production values, and the believable countenance of some of the characters aided in this. It certainly got my grey matter churning, and the movie gently poses some awkward and pertinent questions.

I still wasn't quite expecting that ending, though....

Wilhelm Meister's Apprenticeship - Johann Wolfgang von Goethe

In recent years, I have been most invigorated and energized by my acquaintance with some classic German literature, in the main Hermann Hesse and Thomas Mann and, I will say, finding it more stimulating and engaging than most of the work by English writers that I have encountered in the same period.

This process has also brought me into contact with the world of Johann Wolfgang von Goethe, and I recently read his novel Wilhelm Meister's Apprenticeship, which had been lurking unread on my Kindle for some little time.

I didn't weigh myself down by seeking to determine whether this was a novel of ideas, a philosophical novel, or a bildungsroman. I am in accord with those who have noted that it defies easy categorization.

Basically, the story follows the journey of the eponymous character, as he strives to escape a bourgeois career, and initially seeks to make a career as an actor. The tension between the bourgeois and the bohemian, the worldly and the spiritual, reminded me, superficially at least, of the works of Hermann Hesse.

Particularly to a modern reader, the story does not appear stunningly original, but it is so absorbing that this is largely immaterial. The characters discuss all manner of ideas encompassing art, literature, religion, politics, philosophy and human nature.  Wilhelm's interest in Hamlet and Shakespeare serves as a kind of peg for part of the way.

The discourse is given added authenticity because the novel was composed at the time when societal and cultural ferment was acute.  This is not some idealized, misty-eyed historical novel.  This sense of realism is accentuated by the fact that the ideas do not protrude forcefully from the narrative, but tend to blend quite seamlessly into the flow of the text.  I found this to be the case especially with the gentle commentary concerning the class structures of those times.

An intriguing aspect of this novel which recurs throughout is the scrutiny of the concepts of Fate and Destiny, as they were up against notions of reason and the idea of making one's own "luck". I related sharply to the parts of the story which stressed the value of falling back on something less exalted and fanciful, and of guarding against unrealistic aspirations in life.

Women play a prominent role throughout the story, especially assertive, educated females from affluent or intellectual backgrounds. I'm not sure whether Goethe was trying to make a point in this regard, but it does endow the novel with an added dimension, and was perhaps intended as subtle social commentary.

The opening chapters engender an immersive and stimulating atmosphere, and before long I found myself genuinely caring about many of the characters and their fortunes, and also identifying with their feelings and their dilemmas. Goethe does seem to have that facility to tug at the heart-strings, and it is displayed most pointedly in the passages which deal with Wilhelm's romantic and emotional entanglements and upheavals.  His alternating anguish and ebullience certainly struck a chord.

This is one of those novels which may reveal its true and full depth with repeated readings. The intricacies of the plot and the subtleties of the characterizations may thereby be more vividly illustrated. Importantly, it has some instructive things to say about how we should improve ourselves and enrich our lives, through activity and cultivating a curiosity about the outside world, rather than lingering in introspection.

Quite a long haul, this one, but a rewarding one, and I can readily see how it has been quite influential down the decades.

Frederick The Great - Nancy Mitford - book review

Of historical figures, Frederick The Great, the famous eighteenth-century Prussian ruler, has long held a fascination for many.  In my own case, I think some of this has to do with his similarities to, and also differences from, Napoleon Bonaparte.

I recently finished reading Nancy Mitford's biography of Frederick, originally published in 1970. Though by no means definitive, I found it enjoyable, and it provided me with an interesting perspective on the man.

The book is written in a breezy and witty style, although I would guess that some might be put off by its "non-academic" nature and lack of  "gravitas".  It is not what I have to come to expect from such biographies, but in a way it made for a refreshing change, and it does have an idiosyncratic charm of its own.

On balance, I would say that Frederick emerges as a sympathetic figure, making allowances for the times in which he lived. In his reluctance to conform, and in his efforts to defy his domineering father, he stands out. It is easy to understand why the young man was so eager and anxious to escape the cultural and intellectual chains which were placed around him.

Frederick's outlook and cultural inclinations make his military prowess seem incongruous, to the modern day observer at least. I have heard it said that this book underplays Frederick's role in military aggression, and therefore paints an inaccurate portrait.  I don't think that Nancy Mitford seeks to conceals his mistakes, or some of the disagreeable foibles in his make-up, although she does pointedly highlight occasions when the king expressed his displeasure with war.

A constant theme in this work is Frederick's sometimes turbulent friendship with Voltaire. This forms an endearing and intriguing sub-plot, as the two fenced and sought advantage. There are also colourful tales of court life, intrigues and back-biting, and it was nice to be given a hint of life at the royal residences.

The fluctuating nature of some of the king's friendships, and his relationships with other rulers and influential figures, also receive prominence here. There are some quite touching passages, especially pertaining to Frederick's close bond with his sister Wilhelmine.  His alternating periods of joy and despair struck a chord. The author does a fine job of conveying the atmosphere of hopelessness and fatalism during the lowest points of the Seven Years' War.

What emerged for me was a complex man, with his flaws, like all of us, but one whose attitudes and approach were enlightened for the period. I enjoyed this biography more than I had anticipated beforehand, but perhaps more as a primer or catalyst, to encourage deeper research of the subject and the era.

Vive La Trance - Amon Duul II - album review

It is the early albums made by the German rock group Amon Duul II which tend to define their influence, their legacy and their popularity, but my listening allegiance has lately shifted decisively towards their subsequent output.

Later releases, those released between 1972-1974, exhibit more melody, additional flair, and greater variety.  They also sound less forbidding - an easier and more pleasant listen, to be honest. Their level of invention, musical intricacy and elusive mystique has proved a revelation to me in recent times. Prominent among this batch of LPs is Vive La Trance, issued in 1973.

Much of this record is eminently accessible to mainstream listeners, but the adventurous impulses remain. It surprises and disappoints me that Vive La Trance is not singled out for greater attention when their discography is being appraised. Unless I have misjudged things completely?

The production on Vive La Trance has a fluency and freshness which permits the music to breathe and sparkle. The greater utilization of keyboards and other instruments (saxophone, violin, cello and so forth) supplements and enriches what might otherwise have been a stodgy recipe of guitars, bass and drums.

As the opening song, "A Morning Excuse" very much establishes the tone, with its bright and rhythmic foundation. I would have to say, though, that the highlights of the album are the tracks "Fly United" and "Jalousie".  The former is a very diverting piece with several haunting melodic touches, and a highly effective vocal arrangement. Indeed, the satisfying mixture of female and male voices is a hallmark of this record. "Fly United" has an enigmatic beauty which is hard not to find captivating. "Jalousie" is a highly tuneful and seductive affair, driven primarily by a confidently expressive Renate Knaup lead vocal.

"Mozambique" is a politically charged piece, which is hardly surprising for a German "progressive" act of that period, but the lyrics are perhaps more strident and blunt than one had grown to expect from Amon Duul II. "Trap" is another one of those numbers which make Amon Duul II sound uncannily like a New Wave act of the early 1980s, with its energetic, uncluttered flavour. Those looking for more experimental fare will be catered for by "Im Krater Bluhn Wieder Die Baume" and "Apocalyptic Bore".

Another thing to mention about this album is the largely sparing and tasteful use of guitars. The laboured and heavy riffs are few and far between, and there is considerable emphasis on melodic, dynamic and intertwining guitar parts which have an earthiness, but also a delicacy.

Vive La Trance has an enchanting and beguiling air of mystery and freedom which is difficult to resist. It still sounds vibrant after all these years. Give it a listen, and you will be impressed and entertained, believe me.

The Battle For Spain - The Spanish Civil War 1936-1939 - Antony Beevor - book review

The Spanish Civil War remains highly emotive. Antony Beevor chronicles and analyses the conflict in his book The Battle For Spain.

In the chapters which constitute a "preamble", Spain's history prior to the 1930s is stressed , with some emphasis on the influence of the Church and the landowners. The country had, it appears, not been affected as much as other parts of Europe by liberalizing impulses.

The plethora of factions on both sides of this conflict can be confusing to say the least, but Beevor does his best to clarify who was who, and why. As he observes, this was not just a struggle between left and right, but also one between libertarianism and authoritarianism and centralization and "federalism"/separatism. These dynamics served to create a very intense and volatile picture.

It is difficult not to be sympathetic to the more libertarian elements of the republican side, however much one feels that they were occasionally naive in their idealism in the face of cold realities. The anarchist scene in Spain around that time, particularly that located in Catalonia, is a fascinating and thought-provoking phenomenon. For all its flaws, a hopeful and positive experiment.

My interpretation was that Beevor felt that the left misjudged the size of its mandate, with its strident rhetoric more than its actions, driving many into the arms of the nationalists. The right exaggerated the "threat".

The infighting between the various groupings, and the fragmented nature of the alliances, is one of the factors which gives the Spanish Civil War an enduring fascination. Loose cannons, hot heads, impractical idealism, brazen opportunism, impulsiveness, impetuosity and cold calculation - all played their part in the drama.

I was impressed by the author's analysis of the early stages of the uprising, the government's hesitant and dilatory initial response, and the motivations behind some of the early atrocities. The republican excesses were more the result of an outburst of rage and chaos. The nationalists, on the other hand, planned a systematic campaign of terror, even "cleansing". The language coined by some nationalist officials is chilling, like something harking back to the Middle Ages...

Beevor goes to great lengths to outline how the unity, or otherwise, of the two sides developed and evolved, Franco maintaining a semblance of cohesion via a mixture of concessions, sops, coercion and eventually demonstrable indispensability to the success of the nationalist cause. Staying largely above the internal strife also clearly helped him. The republicans were not so fortunate, of course, having the heavy hand of Stalin and the Comintern to contend with. Was it the case that the nationalists had a simplicity of purpose, even allowing for lingering agendas, so that they were able to keep their eyes on the prize?  It seems bizarre, but the situation in the anti-fascist camp was not that straightforward.

Another illuminating section of The Battle For Spain deals with the war economy in the republican zone, and the tensions which some methods sparked with the central government. It is difficult not to conclude that the anarchists sometimes clung too rigidly to lofty theories and ideals when a more pragmatic approach may have been more beneficial in the grand scheme of things. Later on, though, they felt with some justification that they were struggling for their very survival and identity.

The rather inglorious attitude of some foreign countries, as well as the manner in which big business connived with the nationalists, is a distasteful facet of the conflict. Yes, we all know now what Stalinism was like, but isn't this a case of being wise after the event? The "rationale" behind certain people's backing for Franco was rather grotesque. The republicans were drastically deprived of genuinely powerful friends, and the consequent reliance on support from the Soviet Union was to bear bitter fruit.

The "romance" surrounding the republican cause is very seductive, even if it is often tricky to pin down exactly. One of the main tasks of the historian therefore is to separate fact from myth, and to weigh what was propaganda, distortion or fabrication. I feel that Beevor remains relatively dispassionate throughout, and does not allow the emotive nature of the subject matter to impinge on lucid judgement. The cruelty and barbarism of the nationalists largely speaks for itself, although the cracks in the republican side take a little more explaining and understanding.

The International Brigades are often the things which most laymen remember about the Spanish Civil War, partly due to the literature and evocative tales which emerged, and also because of the principled stand which they made. Beevor strives to place their role into its proper perspective, and stresses how they slotted into the structure of the Republic's forces.

Diaries and private correspondence are invariably very useful in getting nearer to the truth. Intimate, often candid thoughts committed to paper in the midst of the maelstrom, not alloyed or compromised by propagandistic concerns or embellishment. Such material is made excellent use of in this book.

A probing look at the involvement of intellectuals and artists is also a feature of this work, how many became disillusioned, and how some journalists had their hands tied. It is also pointed how the "demonization" of the communists may have played into their hands, by allowing them to portray themselves as the sole meaningful and dedicated bulwark against fascism.

The portions which address the "civil war within a civil war" evoke a loss of faith among some of the leftist forces and the growth of disenchantment, It is at this point that the paranoia of the Stalin-aligned communists and their acolytes becomes a pervasive trend, seeing the hands of fifth-columnists in almost every military or political reverse. They had leverage, which meant that the other players in the republican fold had to tread carefully in dealing with them. They may admittedly have been on firmer ground in advocating firmer, more cohesive organization and leadership in the face of the nationalist threat.

The vagaries of Stalin's stance are strange. He was doing his best to conceal or downplay the "communistic" side of the republican make-up, for foreign consumption at least, whilst his men on the ground in Spain were throwing their weight around in no uncertain terms. The activities of the secret police, the harsh treatment of the International Brigades volunteers and the draconian punishments for soldiers are all documented here. It is easy to imagine how many people became exasperated and cynical.

A theme which emerges in the second half of this history is the tendency of the republican leadership, under communist sway, to embark on military adventures for reasons of propaganda, playing to both the domestic and international gallery, even when this was not consistent with military or strategic logic. At the same time, of course, the diplomatic picture was clouded and complicated by the gathering storm on the wider European scene. Decisions made regarding Spain were not made in isolation.

Rightly or wrongly, I discerned from some of the author's observations a sense that the republicans were almost naive and "green", both in some of their military decisions, and in their dealings with the outside world, in areas such as finance and arms procurement.

There is a look at what happened after the civil war concluded, including the fate of the exiles,and how Franco went about consolidating his grip on power. The role of both sides in the Second World War is given some attention, and Beevor also looks at the military lessons which the great powers learned, or disregarded, from the fighting in Spain. He also assesses the impact of the interventions made by the Soviet Union, Germany and Italy.

Overall, when reading this book I was left with a feeling of sadness at what befell Spain, at the behaviour of some people on both sides, and how those with honourable and humane motivations and intentions were let down, manipulated and misled.

The Battle For Spain is a sobering but rewarding and worthwhile read. It is well structured and paced, and it brings to life a tragic and contentious episode in modern European history.

Tago Mago - Can - album review

Few, if any, artists can have created a run of albums of the consistent quality achieved by Can during the early Seventies. Perhaps the most striking and influential of those records was "Tago Mago", released in 1971 as a double album. I have seen it described by one or two critics as one of the greatest albums ever recorded, and to my ears this is no exaggeration of its merits.

Funnily enough, I did not really "get" the music of Can until comparatively recently.  They seem to be one of those acts whose charms take a while to impress themselves on the listener. Once my defences were breached, however, I found it impossible not to immerse myself in their work, especially that run of records from the period 1971 to 1973. The type of material which jolts one out of any musical inertia and complacency which may have amassed.

The astonishing thing about "Tago Mago" is that in 2015 it still sounds so fresh, pristine and "contemporary". Some of the music of that era which also falls under the umbrella of "experimental" has not aged anywhere as gracefully. This album, on the other hand, has an immediacy and a punch which are enduringly compulsive and enthralling, distinct in this respect even from the other ground-breaking music which was emerging from Germany at the same time.

Despite being categorized by many as avant-garde, the outward format of the Can group was very much that of a conventional rock group.  Vocalist, guitarist, bass player, keyboardist, drummer. The most immediately noticeable elements of their work, on this series of albums at least, are Jaki Liebezeit's astoundingly energetic drumming and the vocals of Damo Suzuki, who made his Can debut here. However, this should not make us overlook the contribution of the other instrumentalists, who were all integral elements in constituting the intoxicating Can sound during their best years.

Like so many great pieces of art, the draw and appeal of Can's best music is very difficult to encapsulate and convey in words. At their best, however, they were both rhythmic and blissfully melodic, often exhibiting these traits simultaneously. The terms "avant-garde" and "experimental" can serve to frighten off some people, but Can's music is ultimately as welcoming and comforting as any mainstream pop. Just cast off your blinkers and preconceptions at the door....

On such a uniformly strong record it is difficult to pick out highlights, but the track "Halleluhwah" is a particularly gripping and impressive creation, clocking in at over eighteen minutes, and for many representing the apogee of their journey. Liebezeit sounds like he has grown an extra set of limbs, the rhythm and tone are slightly more aggressive than elsewhere on the set, and the sheer length of the piece gives scope for diversions and more time for a mood and a groove to assert themselves. As elsewhere on "Tago Mago" the keyboards are not generally as prominent as one might imagine, but they are essential in engendering that peculiar ambience. This applies, if not as much, to the guitar work.

Having waxed lyrical about "Halleluhwah", it is fair to point out that the other numbers are almost all strong and interesting in their own right. Aside from "Halleluhwah", the other two more lengthy and "unconventional" pieces are "Aumgn" and "Peking O", the latter featuring some striking sound effects and vocal treatments. One gets the feeling that these two tracks more accurately embody the group's musical heritage than the more compact material. Can had the consummate knack of making such extended pieces seem accessible and benign, however.

Of the shorter items, the opener "Paperhouse" has a laid-back but insistent groove to begin with, before branching out, and it is something of a guitar showcase for Michael Karoli. It is followed by "Mushroom", which feels to me more austere and "minimalist".  One can easily see how this track and its character might have rubbed off on many musicians who emerged later.

"Oh Yeah" is an absolute delight and and an adventure, from the opening "explosion" sound effect, to the propulsive beat, to what sound like backwards vocals. As so often with Can, the rhythm is soothing rather than grating, and the keyboards and guitar both accentuate this flavour and lay textures of their own.

The closing song "Bring Me Coffee or Tea", at its outset at least, displays the mellower side of Can, and is an ideal way to bring us down to earth. There is even what sounds like acoustic guitar in there. More great drumming, if more delicate and understated.

I have not compared Can or their music to other artists, quite simply because there is nothing who they can safely be compared to, certainly among their contemporaries. It is unlikely that you will be open-mouthed with astonishment when first hearing them. More likely, you will eventually, after careful attention, find yourself muttering something like "my word, these guys were good".....

Doctor Faustus - Thomas Mann - book review

After thoroughly relishing two of Thomas Mann's novels, The Magic Mountain and Buddenbrooks, I decided to move on to Doctor Faustus, published in 1947.

Doctor Faustus tells the life story of a fictional composer, Adrian Leverkuhn, through the narration of his friend Zeitbolm. The narration itself is delivered against the background of the unfolding horrors of the Second World War, allowing much scope for parallels with the time in which the events of the story actually occurred, and with the fate of Leverkuhn. The composer's fate or destiny are not blatantly employed as a direct metaphor for those of Germany, or vice-versa, but the implied comparison adds depth and lustre to the novel.

In the earlier chapters there is much musing on intellectual, cultural and socio-political matters. At first reading, these can seem like tangents or diversions, but they make sense in the end, both in terms of how the plot develops and in providing some background context on the times in which Leverkuhn, Zeitbolm and their contemporaries lived and worked. They serve too as indicators of how the composer was beginning to stand out from the crowd even in his formative years, in his outlook on life and culture.

In stating the above, I must confess to having found Doctor Faustus quite heavy going up until around the halfway point. Certainly when compared to the more "fluent" and accessible delights of The Magic Mountain and Buddenbrooks, it can feel like this one takes an inordinate amount of time to "happen". The writing style and language are more impenetrable and less flowing.The passages which abound with musical technicalities, theory and jargon may not be to everyone's taste. Concentration and persistence are required, but one is rewarded towards the conclusion, as the fog disperses.

My impression, rightly or wrongly, was that Mann (via the narrator) left the main aspects of the story, namely Leverkuhn's mental afflictions and his supposed pact with sinister supernatural forces, ever so slightly ambiguous, and up to the reader to weigh and interpret.

As with the other Thomas Mann novels which I have encountered, the characters have depth and plausibility, and the author goes to great lengths to illustrate and convey their traits and characteristics. As this story progresses, the social circle of the composer and his associates becomes more familiar and intriguing, more central to the narrative,  and there are a few notable sub-plots, which enrich and augment the picture considerably by vividly depicting the social mores and hang-ups of this artistic and academic "community".

So, not as immediately enjoyable as the other Thomas Mann novels which I have read, but an imaginative and stimulating piece of work, displaying all the hallmarks which make him such an important and powerful writer.