Danzig in the 1920s/1930s. Oskar Matzerath, son of a local dealer, is a most unusual boy. Equipped with full intellect right from his birth he decides at his third birthday not to grow up as he sees the crazy world around him at the eve of World War II. So he refuses the society and his tin drum symbolizes his protest against the middle-class mentality of his family and neighborhood, which stand for all passive people in Nazi Germany at that time. However, (almost) nobody listens to him, so the catastrophe goes on...Written by
David Bennent has a condition which caused him to grow very slowly. When he appeared in this film at age 11, he was 1.14 meters (3 ft. 9' in.) tall. He continued to grow to 1.55 m (5 ft. 1 in), and was still growing well into his thirties. See more »
At the end of the circus scene, the band inside plays "Work Song", written by Nat Adderley in 1960. See more »
A beautiful day! She's gone to the place where everything's so cheap. Habemus dominum
[Leo opens the door for Markus to let him into his taxi]
Yes, it's a beautiful day. An unforgettable day. I too have seen the Lord.
You've seen the Lord?
[looking at Oskar]
Oskar. Habemus dominum, Oskar!
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In 2010, a director's cut was released in Germany which runs ca. 20 minutes longer. See more »
Having read the greater-than-life novel by Günther Grass, this film is an interesting viewing for many reasons. Reason number 1: the most important reason is of course, how on earth did they manage to get anyone to play Oskar? The director has shown us a stroke of geniosity by casting a 12-year old boy as Oskar, who besides is a brilliant actor (I wonder whatever became of him). Reason number two: how could anyone ever visualize the grotesque and chaotic scenes in the book? Once again the director comes up with something brilliant, he makes the scenes as graphic as possible, he doesn't care about the MPAA, he doesn't care about movie-watchers with heart problems, and he's not afraid of overdoing anything. He puts as much force and effort in the scenes as possible, and they come out brilliantly. Reason number 3: How does he capture the moods of the multi-layered book? He simply stays very faithful to the books text and uses camera angles, lighting effects and music perfectly to accompany the visions of Günther Grass. Those are the most apparent reasons and because of those, the film is brilliant. The only flaw is leaving the story unfinished (although, the ones who never read the book, won't notice that). Altogether, an interesting, stylish and rewarding film experience.
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