As a movie reviewer with a keen interest in history and a soft spot for films that delve into the human spirit’s resilience amid adversity, I must say that “Bonhoeffer” left me both moved and troubled. This film is more than just another period drama; it serves as an eerie reminder of how easily manipulated masses can be, particularly when they are yearning for a sense of identity and belonging.
Had “Bonhoeffer” been released two years ago, it could’ve been seen as just another conventional period drama about German resistance against the Nazi regime. But now, it seems strikingly relevant and even prophetic, mirroring some uneasy parallels with modern-day happenings.
As a cinema enthusiast, I can’t help but be captivated by “Bonhoeffer,” a film masterfully written and directed by Todd Komarnicki, who has made his mark in the industry as the scriptwriter for “Sully” under Clint Eastwood. In the closing credits, Eastwood himself acknowledges Komarnicki’s work with a heartfelt thanks. This movie provides a chilling portrayal of how easily Hitler managed to win over the German populace in the post-WWI era, exploiting their feelings of resentment, mistrust, and national humiliation. Interestingly, this is demonstrated through the disturbing fact that Hitler’s supporters distributed a twisted version of the Bible during the late 1930s, portraying Jesus as an Aryan purist and adding two extra commandments demanding loyalty to Der Fuhrer. Shockingly, these distorted Bibles sold remarkably well.
Every unfortunate event that occurred in Germany was blamed on the Jews and Communists by one character, and it didn’t take much to convince the struggling masses. However, it is important to note that not all Germans fell for the propaganda. Yet, Hitler only needed to deceive those who turned out to vote.
In other words: “Someone else asserts that ‘God designated Germany with a prophet, and even more so, a genuine redeemer.’ This statement could have resonated strongly at any given time. However, it bears an uncanny resemblance to what modern devotees of a power-hungry leader might say; the implication is almost crushing.
Among the nonbelievers: Dietrich Bonhoeffer (Jonas Dassler), a deeply religious yet courageously outspoken Lutheran minister who recognizes the dangers posed by Hitler and his regime early on, and is gradually drawn into a resistance movement as he witnesses such barbarism as the persecution and imprisonment of Jews, and the brutal intimidation of his fellow clergymen who fear the consequences of speaking truth to power. He takes grave risks — including making a secret trip to England in the hope of convincing Winston Churchill to join the fight to overthrow Hitler. Unfortunately, the Brit feels the time is not yet right for such drastic measures.
As a passionate film enthusiast, I find myself drawn into the gripping tale of Dietrich Bonhoeffer, who initially hesitates but eventually throws his heart and soul into a daring conspiracy to take down Hitler. It’s no surprise that not all members of this secretive group are immediately on board with such drastic actions. The question arises: “Can God forgive us for doing this?” Bonhoeffer counters with a powerful response: “Can God forgive us if we don’t?
I, as a devoted reader, can’t help but admire Komarnicki’s deft handling of a chronology that jumps through time, providing an insightful portrayal of Bonhoeffer’s transformation from a privileged child to a political captive in the Buchenwald concentration camp barracks. The story unfolds primarily through flashbacks, with Bonhoeffer passing his days imprisoned by writing in his personal Bible and reflecting on the path that led him here. Some of these recollections are amusing, like Bonhoeffer’s experiences at Black nightclubs and church services during a trip to 1930s New York, which ignited his passion to praise the Lord with joy. However, many memories are deeply moving or even harrowing.
At times, certain dialogue or scenes can be overly obvious, bordering on heavy-handed. For instance, in the movie, when Bonhoeffer’s elder brother joins the German Army during World War I, it seems as if Komarnicki intentionally signals his fate without subtleties such as placing a vulture on his shoulder or marking him with a target. Additionally, there’s an awkward moment: “The rise of the Nazis is causing some unease, Dietrich.
Instead, the filmmaker skillfully employs familiar storytelling techniques to heighten and maintain tension throughout the movie. This is particularly noticeable during a thrilling scene where Komarnicki alternates shots between a narrowly failed assassination attempt on Hitler and Bonhoeffer’s preparation of an anti-Nazi speech in a Harlem church.
Dassler skillfully depicts Bonhoeffer with a balance of fervor, honesty, bravery, and at times, fear. He’s supported by convincing ensemble players – actors like Tim Hudson portraying Churchill and Marc Bessant as Hitler, both delivering compelling performances without overemphasizing the expected. The high-quality production enhances the film’s authentic period atmosphere, while reminding us that, as William Faulkner said, “The past is not dead; it’s not even past.
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2024-11-22 10:18