The last twelve days of Adolf Hitler are depicted in the potent German/Austrian film Downfall (Der Untergang) from director Oliver Hirschbiegel. Based upon a series of books and memoirs, this movie takes place almost entirely within the bunker in which Hitler would take his own life and highlights the demented passion of the crumple of the Nazi regime in Berlin.
Downfall broke one of the last remaining cinema taboos regarding the depiction of Nazism in its portrayal of Adolf Hitler in a central role by a German-speaking actor. In this case, Bruno Ganz played Hitler to great critical acclaim. Prior to Ganz’s rendering, footage of Hitler had greatly served to denote his presence for the most part. As news of the role came to light, the press began to fittingly question the idea behind the film. Much was made about whether or not Ganz had made Hitler too sensitive or, perhaps more precisely, too human.
As voyeurs, we are granted entrance into Hitler’s inner sanctum by Traudl Junge (Alexandra Maria Lara), a woman hired by Hitler to be a secretary. Junge wrote a memoir about her experiences with the Führer and is featured at the beginning and end of the film describing her sentiment that she should have done more to make herself aware as to what he was really up to. Instead, Junge was awed by the influence of her employer.
Downfall uses her interpretation of the swirling and paradoxical forces of insanity, psychosis, thoughtfulness, and modesty that comprised her vision of Adolf Hitler.
As we enter the world of the bunker, a claustrophobic sense of things sets in. The walls are gray, drab. The air feels stiff. Hitler is surrounded continuously by men of equal force to his and he struggles to maintain order among a crew of dissenters, liars, and realists. The Führer lost his war, but the film captures his continued attempts to wage it in daydream. Scenes unfold showing him trouncing on maps and forcing nameless troops to locations that no longer matter.
Downfall captures the devastation and the final plunge into lunacy of Adolf Hitler with care, relating a human story behind the history books that is sure to provide the viewer some discomposure. Here, the madman is given a human face. In an opening scene, we see him as a rather kind individual hiring a secretary. He is good to his dog. It all becomes rather provoking, as Hirschbiegel torments us with the illogicality: Adolf Hitler is a human being but at the same time he cannot be. Humans can’t be that wicked, can they?
Article comments
1 - Heloise
Geez, I just rented this from Netflix. It was one of THE best portrayals of Hilter ever. I know, because he was reborn in Chicago. He's a real politico, but I give him an alias in my book. No, it's not Barack. They nail his character in "Downfall."
Heloise