The Reader (2008)

Directed by: Stephen Daldry | 124 minutes | drama, thriller, war, romance | Actors: Ralph Fiennes, Kate Winslet, David Kross, Susanne Lothar, Alissa Wilms, Florian Bartholomäi, Friederike Becht, Matthias Habich, Jeanette Hain, Frieder Venus, Marie-Anne Fliegel, Hendrik Arnst, Rainer Sellien, Torsten Michaelis, Moritz Grove, Joachim Tomashewsky, Barbara Philipp, Hans Hohlbein, Jürgen Tarrach, Kirsten Block, Vijessna Ferkic, Vanessa Berthold, Benjamin Trinks, Fritz Roth, Hannah Herzsprung, Jacqueline Macaulay, Voker Bruch, Bruno Ganz, Karoline Herfurth, Max Mauff, Burghart Klaußner,, Sylvester Fabian Busch, Lena Olin, Alexandra Maria Lara, Ava Eusepi-Harris, Petra Hartung, Linda Bassett, Beata Lehmann, Heike Hanold

The novel by Bernhard Schlink, ‘Der Vorleser’, which has now been introduced almost as compulsory reading in German schools, has been given an international film adaptation at the author’s request, and that is understandable in some way. Although the book is partly about a specific German “problem” – how the new generation of Germans born after World War II deal with the actions of their ancestors (not only the Nazis, but also the bystanders who did nothing) – it at the same time about something very universal: about the (multifaceted) face of Evil, the inscrutability of crime motives, and the possibility of seeing the humanity of criminals. The movie ‘The Reader’ (fortunately) does not give easy answers, but instead raises many questions and leaves it to the viewer to think about this. It’s the only way such a story can work and not reduce it to a superficial Hollywood melodrama. Of course it helps enormously that the crucial character of Hanna Schmidt is played by gifted actress Kate Winslet, who manages to make Hanna an elusive, objectionable, but at the same time human and even moving character. Her acting in combination with the (intellectually) stimulating story makes ‘The Reader’ a film that stays with you.

The story of ‘The Reader’ takes a similar approach to bad characters as ‘Der Untergang’, a film that has met with quite a bit of moral outrage for portraying supervillain Adolf Hitler as something other than pure Evil. Many people find it hard to bear that such a person, a practical monster, is shown as someone with human traits. That is not a good feeling, because such a person comes very close. Then we have to start thinking about (the possibility of) Evil in ourselves, and we prefer not to do that. Hanna Schmidt – as an SS camp guard – has undeniably done wrong things, which can never be justified or (morally) justifiable, but her character does not seem to feel hatred towards others or really support the Nazi ideology. This is what makes her character so complex and paradoxical. Because how can you do and allow such terrible things to happen? Hanna’s only self-proclaimed reason for her behavior during a horrific incident is the need to do her job well and avoid chaos. But perhaps there is more to it. The fact of the secret she carries with her, which she finds to be more important during the trial than a lighter sentence and a fair trial (for her), is already quite unimaginable – not to say implausible – and already seems to indicate some defect. in her psyche. But there may be an extreme form of denial. That Hanna, in order not to allow the horror of the war to enter her inner life, does not allow herself to think about it. Perhaps because it is incomprehensible and she would go under as a human being. Hanna just had to do her job. Point. It is an extreme way of closing the eyes that the rest of the German population – who was not directly guilty – was also blamed, which is also literally referred to by a student in the film. Everyone knew about it, but nobody did anything.

There is a moment in the film that clearly demonstrates the need to give a face to that terrible war – or the Evil in it. In this case, that’s Hanna Schmidt. The day after she has made all her confessions and appears in court to hear her verdict, she is booed throughout the room and called a “Nazi whore”. In other words, she is the (main) culprit, and then everyone can hide it further. It is even possible that Hanna Schmidt senses this need, and voluntarily decides to be the scapegoat for everyone, so that Evil can be given a place and at least someone else takes responsibility for her actions. She is in the room with five other camp guards, who continue to deny everything.

However, while Hanna’s character creates all of the emotional, intellectual conflict (with herself, other characters, and the viewer) and carries much of the film’s theme, the film is really about Michael Berg and the effect Hanna’s secrets have on him. to have. According to the makers, the film is largely a love story, with an interesting angle of the influence that such a radical secret has on the feelings of those involved. Can Michael still feel love for Hanna the moment he learns about her Nazi past? And in general, what happens to his emotional development and connections with other women? The fact that – as becomes clear in the opening scene – he is not (any longer) able to maintain long-term or successful relationships, says it all.

In addition to all these intriguing themes, the film is also partly about the (possible) humanization of culture and civilization. The way in which your imagination can be stimulated and your brain can be stimulated by reading, writing, and experiencing stories, and how it can make you feel more human as a result, is an interesting topic that the film touches on several times. The film does not suggest that this is related to a person’s moral compass and actual humanity, but these connections can be sought.

And that’s the beauty of ‘The Reader’, despite some too explicit messages or moments that touch on the subjects of the story a bit too literally, the film leaves a lot to the viewer’s interpretation. What exactly moved Hanna during her brutal actions in WWII? And what would we do ourselves? (one of the questions that [te] literally stated in the film) What kinds of reasons or situations can be imagined that someone closes their eyes to evil or even engages in evil acts? To what extent is someone human who can do this? Can such a person be forgiven? Does such a person still deserve love and is it even possible for someone else (intellectually and emotionally) to give this love? And how do you, as a culprit, deal with a bad past? Is a simple acknowledgment of guilt enough? How much fine do you have to pay? And can/should you ever live on with atrocities from your past? And if so, how do you do this? ‘The Reader’ shows one possible outcome of all these character dilemmas, and it makes for an ever captivating film that will stay with the viewer for a long time.