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Good Bye Lenin! (2003)

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Ratings: 7.8/10 from 101,980 users   Metascore: 68/100
Reviews: 223 user | 155 critic | 32 from Metacritic.com

In 1990, to protect his fragile mother from a fatal shock after a long coma, a young man must keep her from learning that her beloved nation of East Germany as she knew it has disappeared.

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Nominated for 1 Golden Globe. Another 32 wins & 14 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
Maria Simon ...
...
...
...
Michael Gwisdek ...
Christine Schorn ...
Jürgen Holtz ...
Herr Ganske
Jochen Stern ...
Herr Mehlert
Stefan Walz ...
Sigmund Jähn
Eberhard Kirchberg ...
Hans-Uwe Bauer ...
Dr. Mewes
Nico Ledermueller ...
Alex - 11 Jahre (as Nico Ledermüller)
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Storyline

East Germany, the year 1989: A young man protests against the regime. His mother watches the police arresting him and suffers a heart attack and falls into a coma. Some months later, the GDR does not exist anymore and the mother awakes. Since she has to avoid every excitement, the son tries to set up the GDR again for her in their flat. But the world has changed a lot. Written by Benjamin Stello

Plot Summary | Plot Synopsis

Taglines:

The German Democratic Republic lives on -- in 79 square meters! See more »

Genres:

Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated R for brief language and sexuality | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| |

Release Date:

13 February 2003 (Germany)  »

Also Known As:

Good Bye Lenin!  »

Box Office

Budget:

€4,800,000 (estimated)

Opening Weekend:

$57,968 (USA) (27 February 2004)

Gross:

$4,063,859 (USA) (30 July 2004)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(archive footage)|

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Jürgen Vogel has two appearances in the film. First he has a cameo as one of the arrested protesters (in the front row, wearing a blue jacket) and later he appears as the chicken in the supermarket (a reference to Wolfgang Becker's earlier film Life is All You Get (1997)) for which he is credited as "Das Küken" ("young chicken"). See more »

Goofs

In one sequence in the background you can see the Berolina-Bulidung at the Alexanderplatz. On the roof you can see the sign of the bank company "Bankgesellschaft Berlin". In the time between the fall of Berlin-wall (Nov.1989) and Germany's reunion (October 1990) there was no Bankgesellschaft Berlin situated in East-Berlin. The Company bought the Berolina Building in 1993. See more »

Quotes

Alexander Kerner: On the evening of October 7, 1989 several hundred people got together for some evening exercise and marched for the right to go for walks without the Berlin Wall getting in their way.
See more »

Crazy Credits

A CPR instructional diagram is included in the end credits. See more »

Connections

Features Unser Sandmännchen (1958) See more »

Soundtracks

Comptine D'un Autre Été: L'après Midi
by Yann Tiersen
See more »

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User Reviews

 
The charming social construction of history
24 May 2004 | by (Austin, TX) – See all my reviews

I found this movie to be a charming film and very engaging on both a personal and a social level. The story is drawn from the lives of an East Berlin family struggling to cope with the changing world as their way of life is challenged. The father, having reportedly left the family for the West years before, is not present and the mother replaces her spousal needs with the love of her country and its way of life.

The premise of the film centers on the frail mother, who falls into a coma mere weeks before the fall of the Berlin wall. Eight months later, she regains consciousness, and her children are told not to excite her, lest she have another episode.

Bound by their love of their mother, the son and daughter seek to shield her from the changes in her culture. In their apartment, they recreate the conditions of the world she remembers, right down to the labels on the food they serve her. As the mother comes into contact with the inevitable disparities between her new world and the one she remembers, the son compounds the deception, eventually creating false newscasts to explain the phenomena she witnesses in a manner more consistent with her core assumptions of life.

The film is touching, tender, funny and dramatic. However, the elements that really drew me in were the historical construction and the plot device of deception.

The historical construction was the way in which the son, through his efforts to explain the increasingly Westernized elements of German society his mother observes, recreates East Germany as the country he could have faith in. As he recreates history to incorporate current events, he softens the harshness of the party rhetoric, reforming the socialistic ideal closer to the compassion for the masses and the acceptance of the 'enemy' capitalists. The film makes ample use of actual news footage in his narrative, footage that adds sharp contrast to Alex's version.

This contrast is a striking reminder about how much of our social conscience is constructed through the lenses we choose to observe reality and recall history. Alex had quickly come to give up his socialist devotion (though the film does make it clear form the beginning that the adult Alex was already disenchanted with it). But as Alex fabricates news reports and artifacts for the illusion he's providing his mother, he actually appears to be inventing a system of socialism that he can feel proud of. It's almost as if in trying to console his mother, he connects to her by reinterpreting her world into something he can interface with, building common ground.

How much of our own social history is constructed in this manner? We champion our own system of free market democracy as the 'city on the hill' for other nations. We raise up the virtues of our freedom and individuality (and there are indisputably many virtues), while ignoring some of the more sorted historical results it has yielded. We choose which portions of our history we celebrate, and which portions we condemn to academic obscurity.

Americans use history to construct our national mythology. Like Homer and Virgil before us, we compose idealized stories of virtue and create narratives that resound with the language of legendary epics. And because of this mythology building exercise, we often fail to see our own cultural reality for the flawed imperfect collection of group effort that it is. That's why we feel so betrayed when our leaders make simple human mistakes or we see representatives of our culture participating in a manner that runs counter to our values.

No where is this phenomenon so pronounced as when it comes to our national leaders. We look back on our founding fathers and through our myth building, elevate them to superhuman stature. Our high school students may not remember what wars Washington fought in or what political initiatives he took but they remember that he cut down a (fictional) cherry tree and refused to lie about it.

We remember the elegant words that our predecessors crafted without remembering the pain and suffering their efforts exacted from other people. We remember that Thomas Jefferson advocated 'Equal and exact justice to all men, of whatever state or persuasion, religious or political …' while conveniently forgetting that he was ambivalent at best to the degree that freedom extended to those in a state of slavery. We forget that founding father quarreled, that at times they misrepresented each other's interest to foreign leaders and that on occasion may have even tried to kill one another.

The founding fathers we remembered were well educated, civil and wise.

Against this tapestry of myth we watch contemporary politics play out, trying desperately to spin events into frameworks that reinforce our desires for justice and virtue.

We are all Alex, trying to reconstruct a new view of history that makes us more proud of where we come from. We invent and reinvent history to suit our needs and like Alex, do so in the name of providing a safe environment (or better way of life) for others.


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