‘Amrum’ Review: Fatih Akin’s Understated Coming-of-Age Tale Is Generous, Classical and Soul-Stirring

by

In essence, Fatih Akin’s film “Amrum” presents a moral conundrum on screen: it invites us to empathize with a 12-year-old boy who was part of the Hitler Youth during World War II, as he looks after his mother in those final days. This might seem challenging or even inappropriate, but the film asks us to try.

As “Amrum” unfolds within its deliberate, insightful pace on the titled, awe-inspiring, windswept German island, it becomes evident that the film does not seek sympathy for the devil; rather, it’s a misinterpretation to view this as the main goal of Akin’s thoughtful and profound drama. (To put it plainly, unlike the offensive and insensitive “The Boy in the Striped Pajamas,” this film is certainly not.)

As a devoted admirer, I’d like to share my thoughts on “Amrum,” a film that was initially envisioned by octogenarian German filmmaker Hark Bohm, but ultimately brought to life under the guidance of Akin. While Nanning, brilliantly played by newcomer Jasper Billerbeck, might appear just like any ordinary child, he also embodies the tragic result of harmful indoctrination. Much like a sponge at his age, he soaks up both goodness and evil from his surroundings.

The captivating quality of “Amrum” lies in its portrayal of Nanning, who, given different upbringing by individuals other than his radical Nazi parents, might have been an ordinary child with a kind heart, not consumed by the malicious thoughts he’s been compelled to embrace. This is the kind of insight that only thoughtful art can provoke – it reminds us that evil has a human origin, and understanding this root is key to overcoming it.

The narrative takes place in the year 1945, with Nanning residing alongside his mother Hille (played by Laura Tonke), aunt Ena (portrayed by Lisa Hagmeister), and a younger sibling on the scarcely inhabited island of Amrum. A broadcast from the radio heralds the demise of Hitler. In a state of shock and heavily pregnant, Hille insists on consuming only basic foods such as white bread, butter, and honey – commodities that were almost exhausted during the war, yet held significant value.

Driven by a profound affection for his mother and a sense of responsibility, Nanning embarks on an extraordinary, fairy tale-like voyage across the island to acquire items that seem unattainable: some chemist’s flour, thought to be used as medicine, a bit of sugar from his grandfather, and so forth. As he pursues this quest, he aids a local fisherman in catching a seal in hopes of earning enough money to buy additional essential supplies. He tracks rabbits and spends time with his friend Hermann, who was raised by the farmer Tessa, a character frequently seen in Akin’s films, known for her vocal opposition to Hitler. During their adventures, Hermann and Nanning discuss themes from Herman Melville’s “Moby-Dick”, musing that perhaps Ahab represents Hitler, his sinking ship is Germany, and the whale is God.

Fatih Akin, renowned director of films like “Head-On” and “The Edge of Heaven,” tenderly explores Nanning’s act of selfless love and kindness in his latest work, “Amrum.” This film, though subtly so, is grand in its cinematic scope, sometimes echoing the classic themes found in coming-of-age stories. Akin has admitted that Rob Reiner’s “Stand by Me” influenced him personally, and it’s clear why. In “Amrum,” the children face life-or-death circumstances, encounter unkind bullies, yet remain essentially childlike, ready to aid one another when not swayed by the world’s wickedness but by their own sense of right and wrong.

The movie “Amrum” has a timeless quality that harks back to older films, reminiscent of James Gray’s “Armageddon Time” in its multi-layered moral tone. This is largely due to its stunning seaside backdrop, captured by cinematographer Karl Walter Lindenlaub with a subtle and detached approach, allowing the locations to shine without overt romanticization. Essentially, it presents a rare depiction of childhood innocence on the big screen, exploring both its loss and resilience.

The pain that arises from the contrast between innocence and the atrocities of “Amrum’s” time period, lies in questioning whether goodness can endure, if kind intentions could survive amidst cruel actions. Effortlessly, Amrum poses these questions, doing so subtly and thoughtfully. The film, meticulously crafted and produced by Amrum, lacks grand scenes, shocking revelations or intensely overwhelming music – instead, it is as straightforward in its storytelling as films get. However, this unassuming narrative is far from harmless; much like the protagonist Nanning’s journey, “Amrum” itself springs from a selfless act of immense sacrifice.

Read More

2025-05-17 02:16