The Colby Echo

Issue date: 3/16/07 Section: Arts & Entertainment

[The Lives of Others (Das Leben der Anderen)], the debut feature film from writer/screenwriter Florian Henckel von Donnersmarck, is a measured thriller crafted with remarkably sincere humanity. The curtain lifts on an East Germany of 1984-a date we soon realize was chosen by no coincidence. During a series of clinically narrated interrogation sequences we are introduced to Stasi agent Gerd Wiesler (Ulrich Mühe), explaining to a class of well-dressed young socialists how after 48 hours without sleep "someone who is telling the truth will become angry, while a liar will proceed to cry or beg." Wrenched sobs crackle from the tape recorder set on the desk of Wiesler's bleak classroom.

Our story concerns Wiesler's new assignment: to record and wiretap the waking hours of Georg Dreyman (Sebastian Koch), the last playwright still supporting East Germany, and his girlfriend, coveted stage actress Christa-Maria Sieland (Martina Gedeck). The reason for Dreyman's surveillance is described at first as general suspicion, but Wiesler soon realizes the party minister's (Thomas Thienke) special interest in Christa and his corresponding desire to see Dreyman confined to a detention facility. The proceeding escalates accordingly with a subversive attempt by Dreyman to expose the party cover-up of national suicide rates. Meanwhile, Wiesler, driven by sympathy to a cover-up of his own, omits damning information from his reports. The ensuing Thriller Plot-Hinges and subplots I won't spoil for you here, but I'll offer assurance of their potency.

While the screenplay may be potent (it does take the theme of acting and theater a bit too far), I must acclaim the acting as something more. Ulrich Mühe's portrayal of the expressionless Gerd Wiesler can hardly be said to unfurl as the film progresses, but rather uncurl at a deliberate pace. Mühe's character at first impresses as a predictable fascist caricature, yet this first impression lasts the shortest time I've ever witnessed on film. There is a quality to Mühe's immobilized face that tells us about repression, desperation and sorrow better than any other aspect of the film-even heavy themes of suicide, sexual manipulation and hollow political gain. It is because of this deft subtlety of expression the film carries so well.

For me, it's hard to review thrillers-I suppose in the same way it's hard to describe that feeling in your gut gliding on a swing or amusement park ride. Well, not really. If someone described the physics behind either of those things it wouldn't take anything away. The point about [The Lives of Others] is if I had the space to outline every detail of its plot here, you'd lose nothing of that feeling.

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