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Die Fälscher (2007) More at IMDbPro »

3 out of 6 people found the following comment useful :-
a new approach, 12 March 2008
Author: ruiresende84 (ruiresende84@gmail.com) from Porto, Portugal

Regarding all the films that have already been done about the Jewish oppression under the nazi regime, this is really intelligent in the way it builds its characters and its approach to the theme.

The thing is, the filmmakers are competent enough, i specially enjoyed the cinematography, after Rembrandt, one fine tradition in what concerns light use, and environment construction. With this i mean images where the light is a mass with the shape of the illuminated object in the middle of a dark environment, but we never, or hardly get the source of the light, it's like if it springs out of the object itself. This causes for us to focus at the centre of the composition with a special concentration. Common things, miserable aspects, made special for being in a dark place. This has all to do with second world war, and the depths of human misery. But despite the cinematography, the rest is merely competent, the camera was tender in some moments, but merely (false) documental in practically all the way. The acting is good, and Markovics and the writers deserve credit, because they did something i never got to see in an holocaust film.

So, we don't get good and evil, that won my heart right away. We acknowledge the flaws, and the bad character of the counterfeiter right from the beginning. He is as flawed as every other man, maybe even more. He forges, he fakes, he counterfeits money, he fakes in order to survive, he is interested in surviving, not in saving the world. "a day is a day", he says. All the jews working with him think the same, except for the idealist. All the jews only want to survive, and they are the lucky ones, an island of a relative peace in the island which is the concentration camp. It's interesting how we come to envy them for the little they had, compared to the nothing the majority had. I think this sensation we get while watching the film, is comparable to the sensation the real jews might have had, living the situation. This is an interesting achievement. So, we have a different angle, one that doesn't sanctify the victims, and places on the real sphere of the flawed world where they lived, before the war, before the Nazis. For someone who is 2 or 3 generations away from the war, such as myself, this represents a much more interesting approach. Of course the director is 47 by now, so he also is clearly post war.

One thing didn't work for me, at least i felt it was misused. Tango. It's assumed, from the beginning, all the adaptations of Gardel, quite good, more sensual but less visceral than the original Gardel. I really couldn't work out the connection. Why tango? From the beginning i was trying to understand and guess where that would fit. But it didn't unfold to me. I'll try to understand it.

My opinion: 4/5 get to it.

http://www.7eyes.wordpress.com

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