German Good

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The Good German is a 2006 American film adaptation of Joseph Kanon's 2001 novel of the same name. It was directed by Steven Soderbergh, and stars George Clooney, Cate Blanchett, and Tobey Maguire. Set in Berlin following the Allied victory over the Nazis, it begins as a murder mystery but weaves in elements involving the American postwar employment of Nazi rocket scientists in Operation Paperclip.
The film was shot in black-and-white and is designed to imitate the appearance of film noir from the 1940s, although it also includes material – such as sex scenes and swearing – that would have been prohibited by the Production Code. Its poster is a homage to the poster for the classic film Casablanca (1942, also a Warner Bros. film), as is the closing scene at an airport. The DVD release presents the film in the 1.33:1 aspect ratio which declined in use from about 1953, though the theatrical release, and other DVD Releases, used the slightly more modern but still unusual 1.66:1 ratio.
The film received mixed reviews and grossed $5.9 million worldwide against a budget of $32 million.
Jacob "Jake" Geismer (George Clooney), an American war correspondent for The New Republic, returns to Berlin during the Potsdam negotiations between the Allied powers after World War II was over in Europe (May 1945) but before hostilities ended in Asia (August 1945). Jacob witnesses his murdered driver, a black-marketeering American soldier named Tully (Tobey Maguire), being fished from a river eddy, suspiciously adjacent to the Potsdam conference grounds. The corpse is discovered to be in possession of 50,000 German reichsmarks — which are later revealed to have been printed by the U.S occupying forces.
Geismer becomes entwined in both the mystery of his murdered driver and the clandestine search by both Soviet and American forces for the missing German Emil Brandt (the title character, played by Christian Oliver). He becomes more involved in both mysteries as his investigation intersects with his search for Lena Brandt (Cate Blanchett), a Jew — and Emil's wife — with whom Geismer had been in a relationship prior to the war. Lena has survived the Holocaust by doing "what she had to" to stay alive — early in the film this is assumed to be prostitution, but Lena (based loosely on the Jewish collaborator Stella Goldschlag[2][3]) is later revealed to be secretly complicit in the deportation of her fellow Jews.
In the film, Emil Brandt is a former SS officer who had been the secretary of Franz Bettmann, Chief Production Engineer of the V-2 rocket at concentration camp Mittelbau-Dora/Mittelwerk. (Bettmann is only a minor character in the film; he appears to be based on the real Arthur Rudolph.) The Soviets, the Americans, and the British all try to get hold of Emil Brandt, for different reasons. The Americans have already detained Bettmann in a safehouse and intend to transport him to the U.S. as part of their Operation Overcast/Paperclip to have him work on their own rocket program (cf. Wernher von Braun). In the film, they are fully aware of Bettmann's role at Camp Dora and know about the slave labor used in the V-2 program, but want to cover up his involvement (because they could not lawfully employ a known war criminal), which includes eliminating Emil Brandt, whose testimony or written notes would prevent their whitewashing of Bettmann.
Geismer, in his attempts to get his former lover, Lena, out of Berlin, gets more and more involved in the search for Emil Brandt. At one point, Lena gives Emil's notes on Camp Dora to Geismer. When Lena and Geismer try to hand Emil Brandt over to the American prosecutor charged with handling war crimes cases, they are intercepted by the American authorities who want to protect Bettmann, and Brandt is murdered. But Geismer still has Brandt's notebooks, which he now trades in to the war crimes investigators of the U.S. Army (who have turned out to be in league with the other American authorities — the ones who want to keep that evidence confidential to whitewash Bettmann) in exchange for a Persilschein (a denazification document) and a visa for Lena, such that she can leave Germany.
Through a minor character of a Jewish owner of a pawn shop who survived the Holocaust with his legs amputated, the film refers to the Nazi human experimentation, in particular to bone transplantation experiments as they were done at the Ravensbrück concentration camp.
The film imitates the appearance of films from Classical Hollywood studio-era. Most of the scenes were shot on soundstages and on Universal Studios' backlot, and were then edited with archival Russian footage and archived film from Corbis. Although the finished film is in black and white, it was shot in color because this allowed the use of faster film than available black-and-white film stocks, and afforded the ability to use 'green screen' techniques. The color was then reduced in post-production through the use of a digital intermediate to a grainier black and white, in order to blend with the carefully restored archival material.[4][unreliable source?]
Unlike modern films that are shot with significant "coverage" and mostly with close-ups or two shots, The Good German was shot with 1940s era wide angle lenses, such as a 32 mm, with deep focus, "strongly accented camera angles" and entire scenes staged. Director Steven Soderbergh said:
that kind of staging is a lost art, which is too bad. The reason they no longer work that way is because it means making choices, real choices, and sticking to them ... That's not what people do now. They want all the options they can get in the editing room.[1]
The set lighting was entirely incandescent and the audio was recorded on a boom mike instead of the more modern body mikes or ADR. These decisions, combined with the limited coverage, allowed the rough cut to be produced in two days after wrapping up filming.[1]
"Good Germans" is a term referring to German citizens during and after World War II who claimed not to have supported the Nazi regime, but remained silent and did not resist in a meaningful way. In addition, the title is an allusion to the phrase common among soldiers of the Allied Powers during the invasion of Europe after D-Day, that "The only good German is a dead German" — and the consequences of this death are seed for all that follows in the story of the film. Thematically, the film centers on guilt, and whether it is possible to survive the atrocities while being unaware of and not complicit in them.
The Good German received generally mixed reviews, with many critics complaining that it was too reliant on style and did not concentrate on the building of characters.[5][6] As of June 2020, the film holds a 34% approval rating on Rotten Tomatoes, based on 152 reviews with an average rating of 5.04/10. The site's consensus states: "Though Steven Soderbergh succeeds in emulating the glossy look of 1940s noirs, The Good German ultimately ends up as a self-conscious exercise in style that forgets to develop compelling characters."[7] On Metacritic, the film has an average score of 49 out of 100 based on 34 reviews, indicating "mixed or average reviews".[8]
Peter Travers of Rolling Stone greatly appreciated the film.[9]
The film made $76,817 in its opening weekend in five US theaters.[10] It had a worldwide gross of $5,914,908, of which $1,308,696 was in the US, against a $32 million budget.[1][11]
Content is available under CC BY-SA 3.0 unless otherwise noted.

While in post-war Berlin to cover the Potsdam Conference, an American military journalist is drawn into a murder investigation which involves his former mistress and his driver.
Berlin, July, 1945. Journalist Jake Geismer arrives to cover the Potsdam conference, issued a captain's uniform for easier passage. He also wants to find Lena, an old flame who's now a prostitute desperate to get out of Berlin. He discovers that the driver he's assigned, a cheerful down-home sadist named Corporal Tully, is Lena's keeper. When the body of a murdered man washes up in Potsdam (within the Russian sector), Jake may be the only person who wants to solve the crime: U.S. personnel are busy finding Nazis to bring to trial, the Russians and the Americans are looking for German rocket scientists, and Lena has her own secrets.—
Rated R for language, violence and some sexual content
The film was shot as if it had been made in 1945. Only studio back lots, sets and local Los Angeles locations were used. No radio microphones were used, the film was lit with only incandescent lights and period lenses were used on the cameras. The actors were directed to perform in a presentational, stage style. The only allowance was the inclusion of nudity, violence and cursing which would have been forbidden by the Production Code.
When Tully is leaving Sikorsky's office, he is supposed to have a broken right arm. Yet, when he rises from the chair, you can see him push off the arm with his right arm (both arms, actually) and then open the door with his right hand.
Lena Brandt: An affair has more rules than a marriage.
All the logos appear in black and white, while the Warner Brothers logo appears in the forties old style
Edited from Зарубежный роман (1948)
Somebody Else Is Taking My Place
Written by Bob Ellsworth, Dick Howard and Russ Morgan
Performed by William Marsh, Chris Ross, Johnny Britt and Gary Stockdale
Effective Thriller With A Couple Of Flaws
I went in to see this movie with expectations relatively low . The company I was in had dragged me to see INLAND EMPIRE which I am on record as saying was the worst movie I have paid to see . It should also be remembered that this movie had a very limited release both sides of the pond which considering has an Oscar winning director and three big names in the cast is not a good sign , so I went in with fairly low expectations

Perhaps my low expectations worked in the film's favour because it's a very effective film noir/ political thriller . Soderberg has brought a metonym to the story . He directs in monochrome and has mixed his own filmed material with stock footage of a devastated Berlin . Remember all those old movies where someone is driving a car and it's painfully obvious that it's filmed on a studio set with back projection ? Well there's a scene featuring Toby McGuire and George Clooney in a jeep where the same technique is used . The film also contains a title sequence straight out of the 1940s and has scenes with an overlong shot duration same as film from yesteryear

Unfortunately by doing this Soderbergh draws attention to the fact that Paul Attanasio's screenplay wasn't written in the 40s because there's a sex scene and several uses of the F word . If you're making a film that's a homage to 1940s cinema shouldn't you go the whole hog and write a screenplay in the same manner ? Hasn't the producer shot himself in the foot ? You'll be left scratching your head wondering why sex and bad language has been included

Still it's a minor complaint and one that doesn't destroy the movie which has a plot and if you had no idea that Cate Blanchett has been cast as Lena Brandt then you'd genuinely believe that her character was played by a European actress . Blanchett is the best actress in the world today and the fact that she wasn't Oscar nominated is another symptom that the annual academy awards are becoming more and more worthless . Tobey McGuire as Tully is considered less effective mainly because he has a sex scene which brought the cry from a couple of my cinema companions " That under no circumstances should spidey be seen to have sex " but seeing as they were both females I'm sure they were upset that George Clooney didn't get the opportunity to do some on screen horizontal jogging . Students of film studies will know the term " Impact aesthetics " and there's a great example of this when Captain Geismer studies a hundred dollar bill which will have you jumping out of your seat in fright

This is a fairly good thriller which while it isn't a film for everyone did hold my attention through its running time and despite it's somewhat retro formalist technique has me asking why it didn't get a wider release in both Britain and America ?
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