The Lives of Others (Leben der Anderen, Das)

Written & Directed by Florian Henckel von Donnersmarck

By Rebecca Paterson

The era of a divided Germany is still fresh in the minds of much of the world’s population. In the last few years, this fact has an arguably positive effect on the output of filmmakers attempting to tackle them – these are not long-dead divisions, and some delicacy must be employed in their portrayal. This is certainly the case for the formerly West German filmmaker Florian Henckel von Donnersmarck, whose recent debut feature The Lives of Others has been winning critical accolades across the world. In the face of still-potent politics, he delivers with a steady hand.

Lives is no pedantic condemnation of a socialist regime, nor does it blindly glorify the West and reunification. Rather, it methodically works its way through a deeply personal story, and if there is bias, it is against practice rather than principle. In short, it is a story of convictions being called in to question, and intellectually, there’s no greater treat. Ulrich Mühe stars as Wiesler, a strict and ruthless officer of the Stasi, who willingly accepts an assignment to monitor the home of successful artists Georg Dreyman and Christa-Maria Sieland. However, when Wiesler is given reason to doubt the motives of his superior officer, what begins as a nameless and indirect act of rebellion escalates dramatically, eventually putting him in the position of coconspirator with the man upon whom he spies.

Individually, Wiesler’s conversion might be difficult to swallow. However, Donnersmarck, who also penned the script, has paced the film with expert precision, allowing characters and events to egg each other along in turn. As Dreyman and Christa take it upon themselves to rebel, Wiesler is forced, over and over again, to reevaluate his stance on “immoral” behavior. While there’s little room for pathos in such a tightly woven script, the three leads highlight their emotional trajectories with wonderful subtlety and refreshing realism. Also noteworthy in the film’s emotional output is its use of “Sonata For A Good Man,” thematically providing a heartbreaking arc, and in its performance, arguably among the most moving of musical interludes in years of cinema.

In stories dealing with resistance in the face of oppression, nobility is a common and often overwhelming theme. However, in this historical framework, the usual conventions for nobility are less applicable; the audience knows that socialist Germany is going to fall, which makes the looming question behind each act of sacrifice; is this for nothing? Indeed, futility has a dark seat in this film, specifically in the last act, as the characters are pushed to their defining confrontations. While this question mark may seem bleak, even anticlimactic, there is an eloquent sense of genuity to Donnersmarck’s quiet finale that is every bit as powerful as a sunrise over a battlefield.

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