Alone in Berlin

Once again, World War II turns up another true story of quiet valour to turn into a motion picture. At a time when Trump is pontificating about so called "fake news", here is a timely tale from history which centres on the battle against genuinely fake news: the Nazi propaganda machine.

After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,"Harry Potter and the Goblet of Fire") and Anna (Emma Thompson, "Saving Mr Banks") turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.

Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that's no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are 'alone in Berlin?

After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto's carpentry company is being encouraged "by the Fuhrer" to double and triple their output… of coffins.

More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanour and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl ("Rush") as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.

Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don't see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto's mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….

I can't finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. "Small" films like this tend to rather disappear into the woodwork for Oscar consideration, but here's a soundtrack that I think should be considered: (but what do I know… when "Nocturnal Animals" wasn't even nominated in one of the Oscar crimes of the century!).

In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I've seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos ("Amour"). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.

(For the full graphical review please visit http://bob-the-movie-man.com. Thanks!).

Having come close to losing a son in Afghanistan I could entirely relate to the despair and cold anger at the lies and injustice, the central characters felt. I was overwhelmed with emotion and the movie stayed with me for days.

Both Emma Thompson and Brendan Gleeson turn in outstanding performances, as do a number of the supporting cast members. The film allows a window into the fear, shame, and hopelessness the German people must have felt, as the war progressed and the true reality of the impacts of allowing rampant thuggery, cruelty and bigotry into power, was revealed. Parallels perhaps to certain events going on in the world today?

Brendan Gleeson is an outstanding actor who depicts ' everyman' with authenticity. This movie being a case in point. Without any histrionics this movie delivers. The ending was unanticipated and well crafted. The fact that it is a true story only adds to its power. Highly recommended.

this is not a terrible movie, but it's hard to capture to real terror of Nazism. the book is a tough read but it's as near as I've seen to reality. the total fear of carrying out even the most trivial oppositional act. the certainty that your life is endangered if anyone knows what you're doing - even if it's your family. people always think they would have been in the resistance, but likely they wouldn't. this movie does a reasonable job of showing that only those with nothing to lose would even think about it.

This is not a happy story. It is story that opens your eyes. We have talked about it a lot since. We felt like it was something that should be seen. I would recommend it for folks curious about that era and that place in time. It seems impossible now, but you know its not. Real life stories like this tell something more for me than the big picture story.

Do you appreciate good acting? If so, you shouldn't miss "Alone In Berlin", an indie now playing at a few theaters in NYC. It features Emma Thompson and Brendan Gleeson as the Quangels, whose only son was killed in action fighting for the Nazis in WWII. They are heartbroken, but this is quickly replaced by anger and a sense of revenge for their loss. Otto (Gleeson) decides to print a series of anti-Nazi postcards and leave them at strategic public places around Berlin, but not in mailboxes or stuck in doors - that could mean death to the finder. Naturally, the Gestapo and SS are hot on his trail.

If Brendan Gleeson is the heart of the picture, Emma Thompson is its soul. She is fearful at first but then embraces Otto's dangerous idea and in the process finds renewed love for her husband. She is fiercely loyal and discovers courage she thought she didn't have. She is heartbreaking in her anguish over the loss of her son, and she and Gleeson elevate a pedestrian story to a must-see.

I wonder if at some point in production someone, in the old Hollywood tradition, should have yelled "Get me rewrite!", as the screenplay could have used a little 'punching up'. The story lacks some tension and suspense and relies on the two principals for success. And do they deliver. "Alone in Berlin" will be lost in the shuffle next year at Oscar time, which is a loss and a shame as both are deserving of an AA nom.