La vie des autres

This film utterly blew me away. Full disclosure: I'm a German born (Munich born) German-American who left Germany in 1986, before the wall came down. I cannot describe the feeling I felt as the last few words were spoken on the screen. I could not look at the subtitles ( a habit of speaking two languages ) because my eyes were so full of tears. I cannot tell you how I was so sorry I did not experience the wall coming down. This film healed a wound that may have been left by the nightmare years of 1938-1945, my own great uncle being a Nazi war criminal, convicted in Nuremberg in 1946. Yes, we are mensch too. We have the potential for greatness (of character) in spite of our history. Thank you Florian Henckel von Donnersmarck, for giving me back half of my lost soul in this single "es ist für mich". I am reminded again that the difference between ourselves and beasts is that we have a choice.

After seeing the outstanding Pan's Labyrinth, I could not understand how anything could beat it to the Oscar for Best Film, let alone the accolade of Best Foreign Film. That was until I saw The Lives of Others.

Putting it simply, this is the best film released in years. The framework of the story surrounds a Stasi officer who is assigned to monitor a writer and his actress girlfriend considered loyal to East German regime. That is all I am prepared to reveal because this film operates on so many levels that I wouldn't know where to begin. On the surface this can be enjoyed as a taut drama but essentially it is a study of the human condition and the capacity for compassion and humanity exists in even the most inhumane people. All of this is shot against the backdrop of the greys and browns of communist East Germany.

As a film it is virtually flawless. The three central performances are nothing short of electric, with particularly Ulrich Muhe giving one of the greatest leading man performances since Al Pacino in The Godfather. None of this would be possible without a brilliant script and exemplary direction, that brings the characters to life extracting the best out of the actors. The result is no words are wasted, and every scene is relevant and expertly conceived. This manages to explore deep issues without being turgid, is moving without being draining and remains gripping and entertaining without being superficial.

In summary, this is film-making at its finest. It is the sort of movie that you'll go down on bended knee and pay homage to the inventor of cinema, because it is films like this that cinema was created for. You'll forgive a year of tedious sequels and cash cows, for the one day that films like this get released.

10 out of 10 is too modest.

I do agree with all the other positive comments, and just need to add that this is the very first movie about the former GDR I saw that is not something like a comedy. Flicks like "Sonnenallee" or "Good bye Lenin" definitely were great and funny, but unconsciously left myself (a West German) with the impression that the GDR has been a sort of "Mickey Mouse State" full of stupid but charming characters, not really to be taken seriously. After seeing "Das Leben der Anderen" this impression shifted quite a bit: there actually was suffering, killing desperation and a terribly claustrophobic atmosphere behind that wall. This might well be the most realistic depiction of the dark side of the former East Germany. Thanks to the Producers, actors and director for making this movie. 10 out of 10.

East Berlin, November 1984. Five years before its downfall the GDR seeks to maintain its power with the help of a merciless system of control and observation. When Oberstleutnant Anton Grubitz puts loyal Stasi-Hauptmann Gerd Wiesler on to the famous writer Georg Dreymann and his girlfriend Christa Maria Sieland who is a famous actress herself, he expects career advancement for himself. For most important politicians are responsible for this "operative act".

What Wiesler did not expect: the intimate view on the world of the ones he's observing changes the snitch as well. Looking at "the life of the others" makes him aware of the beggarliness in his own life and enables access to a so far unknown world of love, free thinking and speaking he is hardly able to elude. But the system can't be stopped anymore and a dangerous game, which destroys the love of Christa Maria Sieland and Georg Dreymann and Wieslers present existence begins.

Until the fall of the wall each of them has paid a big price. After that a whole new world begins.

My personal opinion - though it doesn't count that much - is that this one a an absolute Must See. I can hardly remember such an intelligent and moving German movie especially not including the whole topic of GDR history and the dealing with it. I think this is the first German movie which shows this system as it used to be (which has been confirmed by several contemporary witnesses) and not turns it and its people into comedy though there have been several good ones, of course.

"Who knows the secrets of the human heart?" Col in The Crying Game

WhenI saw 2006's Oscar winning Departed, I was satisfied it could be the best picture of the year; then I saw Pan's Labyrinth and thought it imaginatively superior; then I saw Lives of Others, the Oscar choice for best foreign film, and I knew it was the globe's best film of the year, no argument.

Lives of Others is what all movie making should strive to be: interesting characters, thrilling plot, superb acting, and thematic weight. It's set in East Berlin, 1984, five years before the Wall's fall and Gorbachev's "glasnost" and still felling the tremors of Nazism, in this case the Stasi, a government agency similar to the SS. Capt. Gerd Wiesler (Ulrich Muehe), a Stasi teacher and coldly efficient information gatherer, surreptitiously watches playwright Georg Dreyman (Sebastian Koch) and his actress girlfriend Christa-Maria Sieland (Martina Gedeck) to get compromising details that would damn Dreyman and open the romantic way for the culture minister, Bruno Hempf (Thomas Thieme). Oddly for an artist, Dreyman is loyal to socialism, so it is through Sieland that the information must come.

The dramatic hub of this absorbing intrigue is the growing affection Wiesler gains for the actress and coincidentally the underground freedom movement, mostly as it is represented by artists and their friends. While his efficiency is amply evident in his cool detachment, similar to that of Rafe Fiennes in Schindler's List and Serg Lopez in Pan's Labyrinth, his humanity seeps out at the edges as he becomes vicariously involved in the artists' lives. First-time director Florian Henckel von Donnersmarck misses not a beat in slowly revealing the hearts of all his principals while he creates a plot remarkably interesting for a character-driven piece.

Few films could mine the rich conflict between the totalitarian state and artists who yearn for freedom of expression, between the loyalties of friends and lovers and the crushing exigency of survival. Lives of Others shows how difficult it is to watch others' lives unfold and not be drawn to their passion. It's rough out there: No other film of 2006 showed that cliché better. Here's looking at you, best film of the year.