Emotional, furious, frustrated, pretty straightforward, concerned about perfection, so vital on rehearsals...Hendrik Hoefgen, an actor who is found to have an interesting head to be sculpted, a man with his desires and ambitions, an artist who experiences a strange way from Hamburg to Berlin of the 1930s. What does he have to learn on this journey to the great capital and a great career? Some say compromise, others humiliation. If the latter exaggerate, it's going to be the compromise that will lead to something Hendrik would probably never want nor expect...
MEPHISTO directed by Istvan Szabo is a movie based on true events from the life of Gustav Grundgens (1899-1963) and based on the novel by Klaus Mann. Therefore, we could say that it is partly a biopic. Yet, this view would lead to confusion and misinterpretation. MEPHISTO is foremost a film about a life in a particular situation, about decisions one has to make, about burden one has to carry, about misunderstanding one has to prepare for and about treason one has to cope with. Hendrik Hoefgen (Klaus Maria Brandauer) appears to be a very complicated person: he wants to do something powerful yet, he is haunted by insecurity and fear that lie within his four walls of the psyche. As a result, he wears a "symbolic mask" among people. The role of his life is Mephisto which he portrays twice. However, he does not expect that this second time, in order the portrayal to be accepted, he will have to adjust it. Moreover, what he never foresees is that he will also have to adjust his entire life and career in order to exist. The moment that presents his character in a nutshell is the meeting in the theater with Nazi Prime Minister Hermann Goering (Rolf Hoppe) - his behavior changing from insecurity and soft handshake so despised by the new leaders to cold smile and obedience. Then, they will start to "like" him, then, they will call him Mephisto (our "Mephisto"). But is that the only way to popularity?...
But the development of the main character, which is close to masterwork, is not all MEPHISTO offers. It's a movie about a particular reality (presumably a political content) that Germany was exposed to in the 1930s, the reality that never leaves you indifferent. It is a movie that provokes emotional thoughts in any viewer ready to reflect. A pack of fanatical men rule, force a "code of proper beliefs and behavior" and...what to do to survive? Either immigrate or adjust oneself to this reality. Those who reject a new vision of Germany (e.g. Hans Miklas or Otto Ulrichs) experience the worst (of course, communism was another evil of the time); those who immigrate (Hendrik's wife Barbara) are regarded traitors; yet, those who stay and parrot the "pseudoclassic slogans" are, for the time being, used for certain purposes. Yet, not all people can choose...
In this case, a very interesting, though upsetting, facet of the problem is developed: racism. Hendrik's mistress Juliette Martens (Karin Boyd) is black, she wants to have a baby. However, the career of the actor and the director of Berlin theater would come to an end. He cannot dare for love with a black woman. In a memorable scene, she asks him desperately: "What guilt is there to blame on a child born of black mother and white, famous, father?" Then, as he immediately puts aside this question, she shows him an old photo from his childhood in which Hendrik stands upright in his most young, fresh, pure years. Juliette looks at him in despair and says: "Do you still recognize yourself?" I'll leave this thought to you who read... You must see this scene, a little psychological pearl!
The performances are terrific. Klaus Maria Brandauer portrays his part in a very powerful way. You see an actor playing an actor, a mask among people, an actor in his roles, an actor in his life, a person who once appreciated freedom; yet, in time, asks himself "Freedom? What for?" It occurs that the Nazi dominate his life already. I think that if you like Mr Brandauer as an artist, you would definitely regard this role as one of the best ones except for Redl (1985) and Nebuchadnezzar (1998). I am proud to say that Krystyna Janda, a Polish actress, is in this film. Although I don't list her as one of my favorite actresses, I have to admit that she very well fits to the role of Barbara Bruckner, Hendrick's wife. In a memorable conversation in Paris, she does a very fine job showing helplessness, rejection and disgust to what happens in Berlin. The third role absolutely worth consideration is Rolf Hoppe's Hermann Goering - he portrays a real Nazi whose behavior is supported by three pillars of the ideology: POWER, ABSOLUTE PRIDE and INFLEXIBILITY.
As for purely technical aspects, the movie does not boast much. The picture is rather pale and the camera job is also not very outstanding. Yet, Sztabo's film is primarily meant to win by its content, to leave something psychologically precious in the viewers, appears to be more for the MIND than for the EYES. Therefore, this weaker cinematography may be forgiven for the sake of flawless aspects galore.
MEPHISTO, though a sad and rather a depressing movie, is a must see for people who appreciate thoughts, who want to get something from a film. Perhaps not that historical to the letter but a pretty nice insight into a complexity that human appears to be. But see it in spring or summer rather than long, dark and upsetting autumn evenings.
MEPHISTO directed by Istvan Szabo is a movie based on true events from the life of Gustav Grundgens (1899-1963) and based on the novel by Klaus Mann. Therefore, we could say that it is partly a biopic. Yet, this view would lead to confusion and misinterpretation. MEPHISTO is foremost a film about a life in a particular situation, about decisions one has to make, about burden one has to carry, about misunderstanding one has to prepare for and about treason one has to cope with. Hendrik Hoefgen (Klaus Maria Brandauer) appears to be a very complicated person: he wants to do something powerful yet, he is haunted by insecurity and fear that lie within his four walls of the psyche. As a result, he wears a "symbolic mask" among people. The role of his life is Mephisto which he portrays twice. However, he does not expect that this second time, in order the portrayal to be accepted, he will have to adjust it. Moreover, what he never foresees is that he will also have to adjust his entire life and career in order to exist. The moment that presents his character in a nutshell is the meeting in the theater with Nazi Prime Minister Hermann Goering (Rolf Hoppe) - his behavior changing from insecurity and soft handshake so despised by the new leaders to cold smile and obedience. Then, they will start to "like" him, then, they will call him Mephisto (our "Mephisto"). But is that the only way to popularity?...
But the development of the main character, which is close to masterwork, is not all MEPHISTO offers. It's a movie about a particular reality (presumably a political content) that Germany was exposed to in the 1930s, the reality that never leaves you indifferent. It is a movie that provokes emotional thoughts in any viewer ready to reflect. A pack of fanatical men rule, force a "code of proper beliefs and behavior" and...what to do to survive? Either immigrate or adjust oneself to this reality. Those who reject a new vision of Germany (e.g. Hans Miklas or Otto Ulrichs) experience the worst (of course, communism was another evil of the time); those who immigrate (Hendrik's wife Barbara) are regarded traitors; yet, those who stay and parrot the "pseudoclassic slogans" are, for the time being, used for certain purposes. Yet, not all people can choose...
In this case, a very interesting, though upsetting, facet of the problem is developed: racism. Hendrik's mistress Juliette Martens (Karin Boyd) is black, she wants to have a baby. However, the career of the actor and the director of Berlin theater would come to an end. He cannot dare for love with a black woman. In a memorable scene, she asks him desperately: "What guilt is there to blame on a child born of black mother and white, famous, father?" Then, as he immediately puts aside this question, she shows him an old photo from his childhood in which Hendrik stands upright in his most young, fresh, pure years. Juliette looks at him in despair and says: "Do you still recognize yourself?" I'll leave this thought to you who read... You must see this scene, a little psychological pearl!
The performances are terrific. Klaus Maria Brandauer portrays his part in a very powerful way. You see an actor playing an actor, a mask among people, an actor in his roles, an actor in his life, a person who once appreciated freedom; yet, in time, asks himself "Freedom? What for?" It occurs that the Nazi dominate his life already. I think that if you like Mr Brandauer as an artist, you would definitely regard this role as one of the best ones except for Redl (1985) and Nebuchadnezzar (1998). I am proud to say that Krystyna Janda, a Polish actress, is in this film. Although I don't list her as one of my favorite actresses, I have to admit that she very well fits to the role of Barbara Bruckner, Hendrick's wife. In a memorable conversation in Paris, she does a very fine job showing helplessness, rejection and disgust to what happens in Berlin. The third role absolutely worth consideration is Rolf Hoppe's Hermann Goering - he portrays a real Nazi whose behavior is supported by three pillars of the ideology: POWER, ABSOLUTE PRIDE and INFLEXIBILITY.
As for purely technical aspects, the movie does not boast much. The picture is rather pale and the camera job is also not very outstanding. Yet, Sztabo's film is primarily meant to win by its content, to leave something psychologically precious in the viewers, appears to be more for the MIND than for the EYES. Therefore, this weaker cinematography may be forgiven for the sake of flawless aspects galore.
MEPHISTO, though a sad and rather a depressing movie, is a must see for people who appreciate thoughts, who want to get something from a film. Perhaps not that historical to the letter but a pretty nice insight into a complexity that human appears to be. But see it in spring or summer rather than long, dark and upsetting autumn evenings.