Newsgroup: it.cultura.storia.moderato
Titolo: Ancora su "La caduta"

Finalmente una recensione su "La caduta" che dice una parola di buon senso: 
uno stucchevole filmetto di regime che trasforma l'alto comando tedesco in 
"un manicomio dove un matto con baffetti e palandrana dice di essere Adolf 
Hitler e tutti gli altri [...] si guardano allibiti, ma fingono di 
credergli", una recitazione che sarebbe andata bene nel senso d' "una scelta 
di lettura 'straniante' alla Marat-Sade di Peter Brook", ma che fa ridere 
quando vuole apparire "realistica e quotidiana". Infine un Bruno Ganz che, 
nel suo stravolgimento del personaggio rappresentato, "finisce per apparire 
ai limiti della caricatura [...], la dissoluzione del Reich un cascame del 
tardissimo viscontismo, la caduta di Berlino un set convenzionale da fiction 
televisiva".
http://film.spettacolo.virgilio.it/cinema/recensione.php?film=28908
Saluti, Lorenzo 

 Saluti, Lorenzo 
Quoto dalla rece
 >Impossibile, oggi, fare i conti con Hitler e il nazismo senza un 
minimo >di attitudine metaforica e senza un massimo di consapevolezza 
morale e >storica.
Il punto e' che e' cio' che il film cerca di evitare.
fe...@delenda.net
-- 
Age Actabile Antihippocrate

 Forse ha perso nel doppiaggio..
Non so come sia il doppiaggio italiano (ho visto il film in tedesco), ma ti 
garantisco che è grottesco anche in originale.
Better than expected, but still an anti-national socialist propaganda movie,
25 September 2004
Author: Viator Veritatis from Europe
I have mixed feelings about this movie. Acting is impressive (even if the
actors impersonating the German generals are unable to reproduce the hard,
metal-like Prussian cadence), special effects are well-made, and it nicely
conveys the depressive and claustrophobic feeling of the cramped life in the
bunkers. It also conveys an adequate feeling of war's brutality.
The plot refrains from the most obtuse stereotypes of anti-National
Socialist propaganda, and truly depicts some human sides of Hitler and his
entourage. However, it remains a very unbalanced representation of reality,
intended to impress the viewer's mind with political and ideological
prejudices. For example, all Nazi characters striving to carry on the
fight - from high-ranking SS officials to Hitlerjugend kids fighting on the
barricades - always fall in one of two stereotypes, either that of the
unthinking, automaton soldier speaking in a machine-like way, or that of the
equally unthinking, naive kid automatically repeating the slogans impressed
upon him. On the contrary, all characters purporting a quick surrender are
represented as wise and judicious individuals, speaking in warm overtones
from the wealth of their life experience.
The movie's worst aspect consists its portrayal of Hitler. Instead of
depicting the dialectics of rigorous lucidity and rambling illusions, of
stern self-control and furious outbursts that characterized the dictator's
last days, the film brings to life a maniacal old man who has lost nearly
all contacts with reality. In this movie Hitler is no religious prophet and
political genius, partially broken by the immensity of defeat and bad health
conditions, but a madman babbling his nonsense to an audience so foolish and
subservient as not to see its obvious absurdity - a poor travesty of
historical reality.
Whenever Bruno Ganz enunciates one of his most infamous (to the believers in
the political religion of human rights and racial equality) precepts, he
always does so in an especially rambling and stuttering way, and such
principles are extrapolated from their context, to produce an impression of
bleakness and near-madness. This tendency is made obvious in the scene where
Hitler dictates his political testament: since there was no way to twist the
text in the byproduct of an impoverished mind, we are just allowed to hear
its first few words, then the scene is quickly shifted. In other cases this
approach leads to historical falsification -- it happens in the scene where
Hitler is asked what to do in case ammunition is entirely spent. Fest, in
his "Hitler. Eine Biographie", unequivocally states that the dictator
answered that in this case defenders should try to flee by small groups,
while in the movie Ganz madly waves his one good arm and mumbles "I shall
never capitulate, never!".
The movie makers' tendentious intentions are made even more plain in the
final scene, where a smiling Frau Junge travels away with a newly found
stray kid, and the clouds part in the far skies, to impress on the viewer
the idea that a nightmare is now over, and that a new and better age is
starting for the survivors of Nazi madness. The short interview to the real
Frau Junge, which is incorporated in the end segment, makes the movie's
political underground impossible to miss. This movie does not attempt to
impress the viewers with problems and interrogations, allowing them to find
their own answers; instead it attempts to impose answers on them, defaming 
the
National Socialist world view.
All this notwithstanding the apprehensions expressed by some members of the
Establishment, that this movie could mitigate the effect of regime
antifascist propaganda, are in my opinion justified: as the movie slanders
National Socialism in a less coarse and loud way than usual, it shall be
probably able to impress the herd's minds with lesser force.
Finally, this movie is probably the best that can be filmed on this subject
under the present political regime; it has several bonus points, yet each
viewer, especially young viewers, should go to the box-office conscious of
its preposterous background.