Downfall: Oliver Hirschbiegel

Oliver Girschbiegel's Downfall is not only one of the best German films ever made, but one of the most important as well. It represents nothing less than a nation finally standing up and accepting its terrible past. Even today, over 65 years after the fall of the Third Reich and the death of Adolf Hitler, the very idea of a film like Downfall is stunning in its audacity. We all know the story of the last days of Hitler: as the Red Army surrounded Berlin, Hitler, his staff, and top generals retreated into a tiny bunker from which they would never return. When defeat became imminent, instead of facing his crimes, Hitler and his newly wed wife Eva Braun committed suicide. Downfall sets out to depict these last few days in high detail. Hirschbiegel collaborated with historians and Traudl Junge, Hitler's last secretary in the bunker, to reconstruct one of the defining moments of modern German history. But before I dive into the ethical and moral ramifications of the film, a few words concerning the film's technical achievements is necessary. Downfall is an immaculately made film. Collaborating with cinematographer Rainer Klausmann, Hirschbiegel transforms Hitler's bunker into a twisting, nihilistic hive of corridors and claustrophobic offices. As the sound of Russian bombs and artillery echo through the halls, the bunker becomes a kind of hell for its doomed occupants. Low angle shots are widely used to visibly frame the characters between the floor and the ceiling as if the two were slowly crawling closer and closer together. When Hirschbiegel moves outside the bunker to witness the final desperate defense of the Nazi forces, we are plunged into some of the most compelling and realistic battle scenes in recent cinematic history. Much credit is due to the sound effects and editing team, for they outdid themselves. Hirschbiegel wisely demonstrated that the sounds of battle and dying soldiers is much more engaging and frightening than any special effect. The ever present sounds of battle permeate the bunker, acting as a ruthless reminder of the terror to come. And now, finally, the big question concerning Downfall: is it appropriate to have Adolf Hitler and his other head Nazis portrayed by professional actors instead of newsreel footage (as had been standard practice in German cinema)? After all, if they are recreated, isn't there a chance that they might be accidentally depicted as human instead of as the monsters that they truly were? And would having actors portray the men who orchestrated the largest war and genocide in human history be appropriate in and of itself? I'm not sure that anyone can answer that. The point is that Downfall DID have these historical figures recreated by actors. Whether you agree with this or not, it is impossible to deny its significance. For a country that might not ever shake off the historical demons of the Third Reich, Downfall represents a positive step forward for the German psyche, an acceptance of what was, and more importantly, a solemn warning for future generations.

10/10