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Title: The Lives of Others (2006)
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| Cast overview, first billed only: | |||
| Martina Gedeck | ... | Christa-Maria Sieland | |
| Ulrich Mühe | ... | Hauptmann Gerd Wiesler | |
| Sebastian Koch | ... | Georg Dreyman | |
| Ulrich Tukur | ... | Oberstleutnant Anton Grubitz | |
 |
Thomas Thieme | ... | Minister Bruno Hempf |
|
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Hans-Uwe Bauer | ... | Paul Hauser |
| Volkmar Kleinert | ... | Albert Jerska | |
| Matthias Brenner | ... | Karl Wallner | |
|
|
Charly Hübner | ... | Udo |
| Herbert Knaup | ... | Gregor Hessenstein | |
|
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Bastian Trost | ... | Häftling 227 |
| Marie Gruber | ... | Frau Meineke | |
| Volker Michalowski | ... | Schriftexperte (as Zack Volker Michalowski) | |
| Werner Daehn | ... | Einsatzleiter in Uniform | |
| Martin Brambach | ... | Einsatzleiter Meyer | |
Gerd Wiesler is an officer with the Stasi, the East German secret police. The film begins in 1984 when Wiesler attends a play written by Georg Dreyman, who is considered by many to be the ultimate example of the loyal citizen. Wiesler has a gut feeling that Dreyman can't be as ideal as he seems, and believes surveillance is called for. The Minister of Culture agrees but only later does Wiesler learn that the Minister sees Dreyman as a rival and lusts after his partner Christa-Maria. The more time he spends listening in on them, the more he comes to care about them. The once rigid Stasi officer begins to intervene in their lives, in a positive way, protecting them whenever possible. Eventually, Wiesler's activities catch up to him and while there is no proof of wrongdoing, he finds himself in menial jobs - until the unbelievable happens. Written by garykmcd
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After seeing the outstanding Pan's Labyrinth, I could not understand how anything could beat it to the Oscar for Best Film, let alone the accolade of Best Foreign Film. That was until I saw The Lives of Others.
Putting it simply, this is the best film released in years. The framework of the story surrounds a Stasi officer who is assigned to monitor a writer and his actress girlfriend considered loyal to East German regime. That is all I am prepared to reveal because this film operates on so many levels that I wouldn't know where to begin. On the surface this can be enjoyed as a taut drama but essentially it is a study of the human condition and the capacity for compassion and humanity exists in even the most inhumane people. All of this is shot against the backdrop of the greys and browns of communist East Germany.
As a film it is virtually flawless. The three central performances are nothing short of electric, with particularly Ulrich Muhe giving one of the greatest leading man performances since Al Pacino in The Godfather. None of this would be possible without a brilliant script and exemplary direction, that brings the characters to life extracting the best out of the actors. The result is no words are wasted, and every scene is relevant and expertly conceived. This manages to explore deep issues without being turgid, is moving without being draining and remains gripping and entertaining without being superficial.
In summary, this is film-making at its finest. It is the sort of movie that you'll go down on bended knee and pay homage to the inventor of cinema, because it is films like this that cinema was created for. You'll forgive a year of tedious sequels and cash cows, for the one day that films like this get released.
10 out of 10 is too modest.