The Lives of Others [DVD] [2006]

"This is not a true story but a truthful one", is how the writer-director describes this superb political thriller that charts the life of a leading East German playwright who falls under the scrutiny of the state's security police, the Stasi. It is also a very moving story; a male friend of mine even mentioned being in tears at the end. It is interesting to compare this movie with `Goodbye Lenin'. But the latter, whilst ultimately a tragedy rather than the comedy it tries to make itself out to be, is `Stasi-Lite', not daring to go into the dark spaces of the former. That's not to say that `The Lives of Others' does not also have its moments of dark humour, most notably a scene in a Stasi canteen where jokes about the Chairman of the Party ultimately relieve some tension.The star of this film is the late Ulrich Muhe, a superb East German actor who first came to my attention in the work he did for director Michael Haneke. Muhe plays the committed Stasi officer, the socialist idealist who becomes scandalised by the cynical and corrupt actions of his so-called superiors. He starts to admire the strength and the suffering of those who are under his surveillance, namely the playwright and his circle. It is as if the mist suddenly rises, and he resolves surreptitiously to take his revenge on the people and system he has previously supported.It's cleverly told, and with tragic results. The change in his beliefs is made manifest to the audience in a scene in a lift where a child casually mentions to Muhe's character that his father has not a good word to say about the police: it's second nature to Muhe's character that he begins to ask the name of the child's father in order to report him, but then he stops himself and lets the child go on his way. Muhe's boss will later become suspicious of his underling, asking him "Are you still on the right side?" The ultimate put-down is saved till the end of the film (after the Wall has come down) when the playwright addresses an ex-GDR minister: "To think that people like you once ruled a country".Gabriel Yared comes up with another wonderfully subtle soundtrack to convey the atmosphere of fear and hope. The additional commentary by writer-director Florian Henckel von Donnersmarck adds extra interest. He details Ulrich Muhe's own story of working in the East German theatre world, how Muhe discovered that his colleagues and his own wife were informants for the Stasi. He also mentions how it was Muhe who interviewed Donnersmarck rather than the other way round to see if the rookie director was up to the task of doing the film. Donnersmarck remarks on the colour palette of the movie too. The grey-green-brown with only minimal blue and red was carefully devised "to capture the essence of the GDR".Other extras include seven extended or deleted scenes; thirty minutes of cast and crew interviews (including Muhe); a twenty-minute `Making of'; and a gallery of devices that the Stasi used in their surveillance work.

Everything about this film achieves perfection. The oppressive political regime is cleverly portrayed through a combination of the lack of speed and lightness in the interactions, even the furniture and scenery feels heavy. The weight of this stillness is portrayed in the face and movement of characters, most notably the Stasi Officer who dominates this film.Not for a single moment do we forget that all of the characters fear that the state has complete control over all, that no one is safe, and scrutiny can and does fall upon anyone without any provocation.In the midst of this tension, artists struggle to achieve their potential and to maintain integrity. We quickly have the impression that it seems natural to maintain a certain level of distrust in intimate relationships, as the Stasi have ways of threatening what is held most dear to an individual if they want information to be given or kept from somebody.Watching this film feels experiential somehow. The multiple levels of the story transition seamlessly as we move between the mindset of those who seem to believe in and promote the regime, and those who are seeking to enjoy the relationships with those around them whilst protecting their rights to achieve and even to work. We understand more about how toxic and pervasive this is by the way the actress CM forces herself to comply with the vile actions of the official who pursues her. The understated script and direction of her character, as well as that of her playwright boyfriend when he learns of and addresses it tells us more powerfully of the complete control of the state than any loud and voluble outpouring of emotion could be. Both characters epitomise dignity within despair.I haven't said much about the Stasi officer. His storyline illustrates the power of art to transform belief. In a few simple shots of him eating alone and his bureaucratic diligence when seeking to observe others, we understand him to be a lonely character. We begin to appreciate his developing sense of connection to his subjects, and see that he seems to care. Music and literature have a role in his awakening humanity. It is the treatment of the actress by his senior which appears to shift the ground from under his feet. We see that his ethical core has awakened and shifted.I am not going to detail the closing half hour of the film so that others may enjoy the inevitability of events unfolding.....we begin to appreciate how his actions to protect begin to inadvertently cause harm...and we see that his transformation begins to threaten his position and status. This actor was perfectly case. His face is especially haunting in one particular shot. Very very powerful.I have to say, as it is so very rarely achieved, that this film has a truly perfect ending.