Berlin, July, 1945. Journalist Jake Geismer arrives to cover the Potsdam conference, issued a captain's uniform for easier passage. He also wants to find Lena, an old flame who's now a prostitute desperate to get out of Berlin. He discovers that the driver he's assigned, a cheerful down-home sadist named Corporal Tully, is Lena's keeper. When the body of a murdered man washes up in Potsdam (within the Russian sector), Jake may be the only person who wants to solve the crime: U.S. personnel are busy finding Nazis to bring to trial, the Russians and the Americans are looking for German rocket scientists, and Lena has her own secrets.Written by
The movie poster is an homage to a poster for the classic Warner Bros. film Casablanca (1942), as is the closing scene at the airport. See more »
Jeeps from WW2 were all manual transmission with a long gearshift lever. Tulley is seen driving a Jeep more than once after he has his right arm broken. That would have been impossible to do. See more »
I'm not sure about the answer to my question. With its stylistic nods to 40's noir thrillers like "Notorious", "The Third Man", "Gilda" and at the end, "Casablanca", "The Good German" aims high but ultimately falls flat under the weight of an incomprehensible plot peopled by too many characters. Moreover, none of said characters evinces any sympathy so that as the body-count mounts up towards the end and even as Clooney and Blanchett remain standing to take their relationship who knows where, ultimately you don't really care either way, distracted as you are by the various cinematic reference points - I even detected an in-joke at the expense of "The Pianist". The film is beautifully shot with many attractive framing and tracking shots in luminous monochrome, but the acting quality is distinctly mixed, with Clooney never quite achieving Joseph Cotten standards as he takes hits from almost everyone in sight and Blanchett struggling to emote beyond her sub-Deitrich accent. Tobey Maguire seems to me altogether too typecast in his winsome underdog parts ("Spider Man", "Sea Biscuit") to wholly convince as Clooney's somewhat callous, duplicitous driver who gets in too deep and you don't believe Blanchett's even thinly-veiled attraction to him either. I did enjoy the nostalgic tricks employed by Soderburgh, for example the left to right dissolves between scenes and the musical motifs which accompany the various characters but there are also too many shots of Clooney walking off-shot, or tossing away a cigarette or worst just gazing into space. All told, you'd be better off renting out one of the source movies mentioned above to see how it should be done.
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