Winslet unequal play of an emotional fortress. Gripping

Rating: 9/10 (25 September 2011)

After acquainting myself with writer David Hare in a recent movie review (Page Eight), I naturally was drawn to this movie because it was an adaptation of an award winning novel by Bernhard Schlink. I was a little surprised that it was not a movie I had considered watching before; it won Kate Winslet an Oscar for best actress,the film countless other awards as well as nominations and good to very good ratings from my usual sources. Why had I skipped it? Ah! It was the storyline I had difficulty with. Stories which deal directly or indirectly with WWII events are always a tough read for me and harder to view still. So with a healthy dose apprehension, I started watching it.
The IMDb storyline sufficiently describes the plot without spoiling the heart of the story. Keep in mind that as with the book, the movie has three parts, the first two brilliantly setting the stage for the last part. I was fascinated by Hanna's character, played by Winslet; it is a role I can compare to no other I know. That sort of thing appeals to me. Winslet manages to keep you guessing and wondering about her character. The role is not, I repeat not, endearing but it is captivating. The writers built in the character an emotional fortress we simply cannot break through yet persist in trying, right to the very end. Winslet certainly deserved her Oscar.
Then there's the role of Michael Berg, played by Ralph Fiennes and by David Kross (young Michael Berg). They both did excellent, conveying the emotions we could, in this character understand clearly and through which we vicariously try to unravel the mystery that is Hanna. Hanna and Michael's affair is sensuous, raw and extremely well presented; it is not a romantic passage though. Inevitably, there is a short passage where Michael Berg visits a concentration camp; the brief and eerie moment emotionally hits you like an unexpected kick in the groin. The movie is slightly over two hours long and you need every minute to take it all in. The direction by Stephen Daldry is a fine style example of how to hold back in order to project more strongly; the movie will feel cold but you will not.