Barbara

It's 1980 East Germany. Dr Barbara Wolff (Nina Hoss) is new in the backwaters hospital. She has isolated herself from all her colleagues. The secret police Stasi is keeping track of her for applying for an exit visa and she lost her job at a prestigious hospital in East Berlin. She can trust nobody even the chief doctor Reiser. There is a patient named Stella that has developed an attachment to Barbara. She is pregnant and is desperate to flee to the West.

I love the idea of this story. This should be a tense thriller of paranoia and fear. Instead this is slow moving, reserved emotionally and quiet. The long takes, medium shots, and the stoic performances strip the movie of its tension. The fact that she is holding her feelings so tightly may be fitting for the story. It doesn't always allow people to feel her fears. It's a specific way to do this story and it works on that level.

It's a challenging task to depict a bygone era which hasn't yet passed into history, but is a living memory in the minds of many. Distant events may be easily interpreted at will, because no spectator can expect a minute reconstruction of a reality past. Adaptations of recent events, however, fall under close scrutiny of those who were actually there, and any attempt to 'tell the whole story' will invariably meet with criticism from those who feel left out of the picture, or who remember differently. It is therefore the best solution for the film maker to focus on atmosphere rather than events, and a simple story rather than a complex rendition of society as a whole. And that's what director/ screenwriter Christian Petzold does: he tells the story of a doctor, displaced from the capital to the province for an application to leave the country, and confronting an atmosphere of distrust while preparing her escape to the West. This routine of hostility is a little ameliorated by the interest of a male colleague, who may however be an assigned informer, and the friendship to a pregnant patient, who apparently escaped from a juvenile offenders camp only to be recaptured.

What makes me consider this film as far superior to the much lauded, Oscar-winning 'The Lives of Others' is that it does not sacrifice atmosphere to film making conventions. For instance, there is no music, because there was no music. 'The Lives of Others' tormented any actual witness of the times it described with a sappy soundtrack. It also did not correspond to my recollections of East Germany because it limited the supervision of ordinary citizens to the Stasi ('State Security') and its collaborators. It did point out that this supervision was omnipresent, but it created a division between good and evil which was slowly eroded from the evil side's end. 'Barbara', however, focuses on the way ordinary citizens, not intellectuals, were treated, and the fact that virtually everyone collaborated in the supervision of the individual, whether they were working with the Stasi or not. Barbara is fully aware of her situation, and tries to make friends with her colleague/informer André Reiser to win him over to her side, while at the same time not giving anything away about herself. Reiser, on the other hand, tries to gain her trust as a person, because he needs her competence at work and may be romantically interested in her, while at the same time fulfilling his obligations to report on her.

This constant game of hide and seek illustrates what Socialism was really like - a permanent grey zone in which you had to measure your steps carefully and no clear distinctions between good and evil existed, as 'The Lives of Others' would have you believe; and the young patient side characters show that quite a few cracked under this immense pressure. By focusing on one woman's story, director Petzold delivers an accurate portrait of the realities of life at that time: it did not matter whether you were good at your job or not, and being too good made you automatically suspicious, while being lazy made you the target of accusations of boycotting society; it was dangerous to open up to colleagues, because they would almost certainly be inquired about what you said, but at the same time it was dangerous to distance yourself, because then you'd be suspected of having something to hide. Everything was tactics, nothing was spontaneous, everybody wanted to get out, but chastised those who actually tried. This authenticity has probably prompted this film's selection as the German candidate for the foreign language Oscar 2013, but it may also have hampered its chances to win the Golden Bear upon its premiere at the Berlin Film Festival, where Petzold won the director's prize though. Realism makes for an accurate portrayal of the recent past, but for those who have not been there, 'Barbara' may be a bit too stiff and gloomy, because it does not compromise its authenticity to the expectations of (Western) audiences.

Looking back at 1980 East Germany director Christian Petzold conjures up a dreary Orwellian world of suppressed emotions, police state invasiveness and a simmering yearning for something better. The work of Cinematographer Hans Fromm creates an atmosphere of almost perpetual colorless twilight and Petzold's laconic scenes and long takes create a subtle but omnipresent feeling of oppression and paranoia.

In a beautifully understated performance Nina Hoss (Barbara) is a doctor whose desire to leave East Germany results in her being punished through relocation to a rural village clinic where she encounters clinic chief Ronald Zehrfeld (Dr. Reiser). Reiser appears to be sympathetic but she is reluctant to trust him. Jasna Fritzi Bauer is Stella a young girl who constantly escapes juvenile work camps seeking refuge at the clinic. Mark Waschke is Jorg a well-to-do foreigner who loves Barbara and offers to help her escape to Denmark where they can be together. Rainer Bock is a Stasi officer who periodically subjects Barbara to strip searches in an attempt to harass and prevent her from fleeing.

"Barbara" is a quiet character piece. It's a subtle, tense, humanistic drama not ideally suited for audiences of plot-driven pictures. Nina Hoss deserves serious consideration from the Academy as hers is one of the best performances by an actress this year.

The story is set in East Germany in 1980, when it looked like Communism would last forever. Central character is Dr. Barbara Wolff, played by the classically beautiful blonde Nina Hoss, who I've previously seen in A Woman In Berlin. Dr. Wolff was a fast track young doctor at the Charite, the big teaching hospital in Berlin, before she fell in love with a West German businessman and applied for an exit visa. That got her a short spell in prison for ingratitude to the workers and farmers who paid for her medical education, together with a transfer to a one horse town in Mecklenburg, where she seems to be the second doctor in a two doctor pediatric clinic. We know all this because, as she is getting off the bus, the local Stasi man is going through her file with Andre, the head doctor at the clinic. Andre is what they used to call an Inoffiziale Mitarbeiter, or unofficial cooperator. We find out why later on. He's also an attractive, shambling 30 something bachelor in a kind of teddy bear way, a skilled, dedicated doctor with a good bedside manner, and, notwithstanding his work as an informer, a pretty decent guy by the standards of the time and place.

Barbara twigs immediately that Andre's an informer when he offers her a lift home from work on the first day. As they drive through an intersection in his piece of crap Trabant, she says, "you were supposed to ask me which way to turn, but then, you already know where I live." She is resentful, understandably so, and standoffish, which the clinic staff put down to stuck up Berlin attitude. That may have something to do with the open surveillance by the Stasi guy and regular searches of her apartment, complete with strip searches by a female agent. But Barbara is also a first class doctor who takes a real interest in her patients. Andre is quietly smitten -- if you've seen Hoss you'll know why -- and keeps chipping away at her resistance. Despite knowing who else he works for, she can't help responding.

What neither Andre nor the Stasi agent know is that Barbara is contriving to meet her Wessi boyfriend when he's in the East on business, and they're scheming to smuggle her out. He's crazy about her, even saying that he'd move East if she wants, but there are slight intimations that life in the West with him might not be exactly as she's dreamed of. In any event, there's a lot of sneaking about, and Hoss has a good line in tense body language and over the shoulder glances. Everybody knows everybody's business in a small town anyway, and in a small town in Mecklenburg, your landlady, your co-workers, or anyone you pass on the street could be an informer.

Complications ensue, involving Andre, the escape plan, and Barbara's obligations to two young patients in whom she has taken a special interest. I won't tell you how they play out, except that nothing goes quite as expected. The movie gives you a very good sense of a society in which everyone is compromised in some way, trust and intimacy are not really possible, but life has to go on nevertheless. It's not as showy as The Lives of Others, but it gives a better sense of what everyday life was like in the German Democratic Republic, where it has been estimated that there was one Stasi employee for every 165 citizens and one informer for every 6.5.

This brilliant German film explores two fundamental questions: whether it is possible to collaborate with a fundamentally oppressive state, and the acute degree of personal loneliness felt by those who cannot, and whom the state thereby treats as its enemies. The mundane depersonalisation of life under the Stasi is captured much more acutely, it seems to me, in this story than in the more acclaimed 'The Lives of Others'; that the leading collaborator is arguably a decent and attractive person, albeit one who has made different choices to the admirable but not wholly likable heroine, adds subtlety and humanity to the overall portrait of society. Both protagonists are excellent in their roles; the camera-work captures the underlying feelings of alienation in a way that reminded me of early Kieslowski. 'Barbara' is by turns bleak, poetic, emotional and thought-provoking: it deserves to be more widely known.