For how long can concepts of honour and obligation withstand the onslaught of reality? Both were rebels and born to a certain privilege: Werner Holt the son of an esteemed IG Farben chemist and Gilbert Wolzow the scion of a military family; his father a colonel killed on the Eastern Front and his uncle a General. Werner, the eager but apolitical patriot. Gilbert the blinkered National Socialist.
Told in a series of flashbacks near war's end, as a motley group of Panzertruppen, HJ and Volkssturm attempt to forestall the Russian advance, this is a remarkable film. Reminiscent at once of "The Bridge" in its uncompromising depiction of futility, director Joachim Kunert paints a broader though no less bleak canvas of the final days of the Reich: marauding SS units meting out summary justice to civilian and military alike. The questioning of vows of fidelity to Fuhrer and Fatherland in the face of insurmountable odds. Was it all a lie? Kids, you've no idea how we've been swindled.
Despite the bonds of friendship, forged through High School and HJ service, Werner must ultimately question his friend's blind acceptance of the dead-end to which National Socialism has led them. And in so doing he makes a fateful choice, one with apocalyptic consequences.
The seeds of doubt take root in a critical scene when Werner makes contact with his father. A brilliant chemist he may have been, but his refusal to take part in the production of certain "extermination" chemicals has led to him being labeled "politically unreliable." Demotion, family separation and divorce soon followed.
Under the emblem that you wear on your arm, in Germany's name, the Nazis have unleashed the most barbaric war in history. And they're losing it.
Then ultimately there is the saw-mill.
Why are they all against us? They'll do the same things to us if we don't win. That's why we must fight to the end.
One makes a choice. The other has the choice made for him. The house of cards falls, but in the cruelest of ways. The final scenes are breathtaking in both their brutality and their poignancy.
An uncompromising movie, every one of its 164 minutes makes for riveting, if unnerving viewing, and this is aided by the genius of cinematographer Rolf Sohre. The eccentric noir angles and full-screen close-ups typify his style and they can be seen to further great advantage in another of Kunert's classic DEFA films, "Das Zweite Gleis" (The Second Track).
Told in a series of flashbacks near war's end, as a motley group of Panzertruppen, HJ and Volkssturm attempt to forestall the Russian advance, this is a remarkable film. Reminiscent at once of "The Bridge" in its uncompromising depiction of futility, director Joachim Kunert paints a broader though no less bleak canvas of the final days of the Reich: marauding SS units meting out summary justice to civilian and military alike. The questioning of vows of fidelity to Fuhrer and Fatherland in the face of insurmountable odds. Was it all a lie? Kids, you've no idea how we've been swindled.
Despite the bonds of friendship, forged through High School and HJ service, Werner must ultimately question his friend's blind acceptance of the dead-end to which National Socialism has led them. And in so doing he makes a fateful choice, one with apocalyptic consequences.
The seeds of doubt take root in a critical scene when Werner makes contact with his father. A brilliant chemist he may have been, but his refusal to take part in the production of certain "extermination" chemicals has led to him being labeled "politically unreliable." Demotion, family separation and divorce soon followed.
Under the emblem that you wear on your arm, in Germany's name, the Nazis have unleashed the most barbaric war in history. And they're losing it.
Then ultimately there is the saw-mill.
Why are they all against us? They'll do the same things to us if we don't win. That's why we must fight to the end.
One makes a choice. The other has the choice made for him. The house of cards falls, but in the cruelest of ways. The final scenes are breathtaking in both their brutality and their poignancy.
An uncompromising movie, every one of its 164 minutes makes for riveting, if unnerving viewing, and this is aided by the genius of cinematographer Rolf Sohre. The eccentric noir angles and full-screen close-ups typify his style and they can be seen to further great advantage in another of Kunert's classic DEFA films, "Das Zweite Gleis" (The Second Track).