A brave, bold movie

Rating: 8/10 (19 February 2017)

While there may be a multitude of movies produced in Europe and America depicting the atrocities of Adolf Hitler and the Third Reich - both to dramatic and deliberately comical effect - Germany itself is notoriously apprehensive when facing its dark, and very recent, history. Based on accounts from historians and witnesses, including Andre Heller and Othmar Schmiderer's documentary Blind Spot: Hitler's Secretary (from which scenes are used to book-end the film), Oliver Hirschbiegel's Der Untergang, or Downfall, is one of the best movies ever made about Hitler. Rather than investigating how the war veteran and struggling artist became the egotistical tyrant he is remembered as being, Downfall focuses on his final days holed up in a bunker as the war comes to a bloody end around him.
It's a testament to Bruno Ganz's performance that Hitler remains the enigmatic figure seen in Leni Riefenstahl's documentaries, even though he is descending into madness and is clearly in the early stages of Alzheimer's disease. As the Russian army closes in on Berlin and the shell blasts increase in volume through the walls, Hitler and his cabinet are faced with the crippling realisation that their vision of global ethnic cleansing and forming a Germanic empire has failed spectacularly. Often hushed, cunning and inspirational to the men who still adore him, the Fuhrer is also prone to outrageous demands and formidable tantrums. He is a paradoxical cluster, damning his people to death by demanding they still resist an enemy that has already defeated them, yet Ganz still finds humanity in there. Between scolding the Jewish race and sending units into certain death, he mourns the death of his beloved dog Blondi and forms a tender relationship with Eva Braun (Juliane Kohler). He is humanised, but never sympathetic.
Yet Downfall is not simply a document of Hitler's final days; it is much more about Germany as a whole, and how the country fell into chaos as the Reich was toppled. We gain access into the bunker through Traudl Junge (Alexandra Maria Lara), Hitler's secretary for many years. Out in the increasingly perilous streets of Berlin, Professor Schenck (Christian Berkel) does all he can to help the weak and injured while Hitler Youth assassinate old men fleeing the bombing. Many of the cabinet, including Albert Speer (Heino Ferch) and Hermann Fegelein (Thomas Kretschmann), are desperate to flee and urge their Fuhrer to do the same, while contradicting his orders in the hope of salvaging some sort of peace. Despite the scope of the story, you'll never hear Downfall being referred to as an ensemble piece or a war epic, as it retains a sense of intimacy throughout thanks to Rainer Klaussman's grainy, claustrophobic cinematography, with even the wide-open streets of Berlin feeling oddly suffocating. It's a brave, bold movie, and one that goes about its business with focus and a stern grip on the complex unfolding of events.