This article may be expanded with text translated from the corresponding article in German. (August 2018) Click for important translation instructions.
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The Lives of Others (German: Das Leben der Anderen) is a 2006 German drama film, marking the feature film debut of filmmaker Florian Henckel von Donnersmarck, about the monitoring of East Berlin residents by agents of the Stasi, the GDR's secret police. It stars Ulrich Mühe as Stasi Captain Gerd Wiesler, Ulrich Tukur as his superior Anton Grubitz, Sebastian Koch as the playwright Georg Dreyman, and Martina Gedeck as Dreyman's lover, a prominent actress named Christa-Maria Sieland.
The Lives of Others | |
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Original German-language poster | |
Directed by | Florian Henckel von Donnersmarck |
Produced by |
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Written by | Florian Henckel von Donnersmarck |
Starring |
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Music by |
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Cinematography | Hagen Bogdanski |
Edited by | Patricia Rommel |
Production company |
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Distributed by |
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Release date |
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Running time | 137 minutes |
Country | Germany |
Language | German |
Budget | $2 million |
Box office | $77.3 million |
The film was released in Germany on 23 March 2006. At the same time, the screenplay was published by Suhrkamp Verlag. The Lives of Others won the 2006 Academy Award for Best Foreign Language Film. The film had earlier won seven Deutscher Filmpreis awards—including those for best film, best director, best screenplay, best actor, and best supporting actor—after setting a new record with 11 nominations. It was nominated for Best Foreign Language Film at the 64th Golden Globe Awards. The Lives of Others cost US$2 million and grossed more than US$77 million worldwide as of November 2007.
Released 17 years after the fall of the Berlin Wall, marking the end of the East German socialist state, it was the first notable drama film about the subject after a series of comedies such as Good Bye, Lenin! and Sonnenallee. This approach was widely applauded in Germany even as some criticized the humanization of Wiesler's character. Many former East Germans were stunned by the factual accuracy of the film's set and atmosphere, accurately portraying a state which merged with West Germany and ceased to exist 16 years prior to the release. The film's authenticity was considered notable, given that the director grew up outside of East Germany and was only 16 when the Berlin Wall fell.
Screenplay
In 1984 East Germany, Stasi Hauptmann Gerd Wiesler (Ulrich Mühe), code name HGW XX/7, is ordered to spy on the playwright Georg Dreyman (Sebastian Koch), who has escaped state scrutiny due to his pro-Communist views and international recognition. Wiesler and his team bug the apartment, set up surveillance equipment in an attic, and begin reporting Dreyman's activities. Wiesler learns that Dreyman has been put under surveillance at the request of Minister of Culture, Bruno Hempf (Thomas Thieme), who covets Dreyman's girlfriend, actress Christa-Maria Sieland (Martina Gedeck). After an intervention by Wiesler leads to Dreyman's discovering Sieland's relationship with Hempf, he implores her not to meet him again. Sieland flees to a nearby bar where Wiesler, posing as a fan, urges her to be true to herself. She returns home and reconciles with Dreyman.
At Dreyman's birthday party, his friend Albert Jerska (a blacklisted theatrical director) gives him sheet music for Sonate vom Guten Menschen (Sonata for a Good Man). Shortly afterwards, Jerska hangs himself. Dreyman decides to publish an anonymous article in Der Spiegel, a prominent West German newsweekly. Dreyman's article accuses the state of concealing the country's elevated suicide rates. Since all East German typewriters are registered and identifiable, an editor of Der Spiegel smuggles Dreyman a miniature typewriter with a red ribbon. Dreyman hides the typewriter under a floorboard of his apartment but is seen by Sieland. When Dreyman and his friends feign a defection attempt to determine whether or not his flat is bugged, Wiesler does not alert the border guards or his superior Lt. Col. Anton Grubitz (Ulrich Tukur) and the conspirators believe they are safe.
Dreyman's article is published, angering the East German authorities. The Stasi obtains a copy, but are unable to link it to any registered typewriter. Livid at being rejected by Sieland, Hempf orders Grubitz to arrest her. She is blackmailed into revealing Dreyman's authorship of the article, although when the Stasi search his apartment, they cannot find the typewriter. Grubitz, suspicious that Wiesler has mentioned nothing unusual in his daily reports of the monitoring, orders him to do the follow-up interrogation of Sieland. Wiesler forces Sieland to tell him where the typewriter is hidden.
Grubitz and the Stasi return to Dreyman's apartment. Sieland realizes that Dreyman will know she betrayed him and flees the apartment. When Grubitz removes the floor, the typewriter is gone—Wiesler having removed it before the search team arrived. Unaware of this, Sieland runs to the street and commits suicide by stepping into the path of a truck. Grubitz informs Wiesler that the investigation is over, his career is over, and his remaining 20 years with the agency will be in Department M, a dead-end position for disgraced agents.
On November 9, 1989, Wiesler is steam-opening letters when a co-worker tells him about the fall of the Berlin Wall. Wiesler leaves the office, inspiring his co-workers to do the same. Two years later, Hempf and Dreyman meet while attending a performance of Dreyman's play. Dreyman asks the former minister why he had never been monitored. Hempf tells him that he had been under full surveillance in 1984. Dreyman searches his apartment and finds the listening devices.
At the Stasi Records Agency, Dreyman reviews the files kept while he was under surveillance. He reads that Sieland was released just before the second search and could not have removed the typewriter. He is at first confused by the false and contradictory information regarding his activities, but when he reaches the final report, he sees a fingerprint in red ink. Dreyman finally realizes that the officer in charge of his surveillance—Stasi officer HGW XX/7 had concealed his illegal activities, including his authorship of the suicide article, and that he had removed the typewriter from his apartment. Dreyman searches for Wiesler, who now has a menial job. Unsure of what to say to him, he decides not to approach him.
Two years later, Wiesler passes a bookstore window display promoting Dreyman's new novel, Sonate vom Guten Menschen. He goes inside and opens a copy of the book, discovering it is dedicated "To HGW XX/7, in gratitude". Deeply moved, Wiesler buys the book. When the sales clerk asks if he wants it gift-wrapped, he responds, "No. This is for me."
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Florian Henckel von Donnersmarck's parents were both from East Germany (originally they were from further east; the von Donnersmarcks belonged to Silesian nobility but the region was transferred to Poland from Germany after World War II). He has said that, on visits there as a child before the Berlin Wall fell, he could sense the fear they had as subjects of the state.
He said the idea for the film came to him when he was trying to come up with a scenario for a film class. He was listening to music and recalled Maxim Gorky's saying that Lenin's favorite piece of music was Beethoven's Appassionata. Gorky recounted a discussion with Lenin:
And screwing up his eyes and chuckling, added without mirth:
But I can't listen to music often, it affects my nerves, it makes me want to say sweet nothings and pat the heads of people who, living in a filthy hell, can create such beauty. But today we mustn't pat anyone on the head or we'll get our hand bitten off; we've got to hit them on the heads, hit them without mercy, though in the ideal we are against doing any violence to people. Hm-hm—it's a hellishly difficult office!
Donnersmarck told a New York Times reporter: "I suddenly had this image in my mind of a person sitting in a depressing room with earphones on his head and listening in to what he supposes is the enemy of the state and the enemy of his ideas, and what he is really hearing is beautiful music that touches him. I sat down and in a couple of hours had written the treatment." The screenplay was written during an extended visit to his uncle's monastery, Heiligenkreuz Abbey.
Although the opening scene is set in Hohenschönhausen prison (which is now the site of a memorial dedicated to the victims of Stasi oppression), the film could not be shot there because Hubertus Knabe, the director of the memorial, refused to give Donnersmarck permission. Knabe objected to "making the Stasi man into a hero" and tried to persuade Donnersmarck to change the film. Donnersmarck cited Schindler's List as an example of such a plot development being possible. Knabe's answer: "But that is exactly the difference. There was a Schindler. There was no Wiesler."
The film was received with widespread acclaim. Film aggregate site Rotten Tomatoes reports a 93% "Certified Fresh" rating, based on 142 positive reviews out of 152. A review in Daily Variety by Derek Elley noted the "slightly stylized look" of the movie created by "playing up grays and dour greens, even when using actual locations like the Stasi's onetime HQ in Normannenstrasse." Time magazine's Richard Corliss named the film one of the Top 10 Movies of 2007, ranking it at #2. Corliss praised the film as a "poignant, unsettling thriller."
Film critic Roger Ebert gave the film four stars, describing it as "a powerful but quiet film, constructed of hidden thoughts and secret desires." A. O. Scott, reviewing the film in The New York Times, wrote that Lives is well-plotted, and added, "The suspense comes not only from the structure and pacing of the scenes, but also, more deeply, from the sense that even in an oppressive society, individuals are burdened with free will. You never know, from one moment to the next, what course any of the characters will choose." Los Angeles Times movie critic Kenneth Turan agreed that the dramatic tension of the film comes from being "meticulously plotted", and that "it places its key characters in high-stakes predicaments where what they are forced to wager is their talent, their very lives, even their souls." The movie "convincingly demonstrates that wh
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