The White Ribbon (2009)

Strange events happen in a small village in the north of Germany during the years before World War I, which seem to be ritual punishment. Who is responsible?

Director:

Michael Haneke

Writers:

Michael Haneke, Michael Haneke (story)

Stars:

Christian Friedel, Ernst Jacobi, Leonie Benesch

Nominated for 2 Oscars. Another 59 wins & 42 nominations.

Cast

Cast overview, first billed only:
Christian Friedel	...	The School Teacher
Ernst Jacobi	...	The School Teacher as an Old Man (voice)
Leonie Benesch	...	Eva
Ulrich Tukur	...	The Baron
Ursina Lardi	...	The Baroness
Fion Mutert	...	Sigi
Michael Kranz	...	The Tutor
Burghart Klaußner	...	The Pastor (as Burghart Klaussner)
Steffi Kühnert	...	The Pastor's Wife
Maria Dragus	...	Klara (as Maria-Victoria Dragus)
Leonard Proxauf	...	Martin
Levin Henning	...	Adolf
Johanna Busse	...	Margarete
Thibault Sérié	...	Gustav
Josef Bierbichler	...	The Steward

Storyline

From July, 1913 to the outbreak of World War I, a series of incidents take place in a German village. A horse trips on a wire and throws the rider; a woman falls to her death through rotted planks; the local baron's son is hung upside down in a mill; parents slap and bully their children; a man is cruel to his long-suffering lover; another sexually abuses his daughter. People disappear. A callow teacher, who courts a nanny in the baron's household, narrates the story and tries to investigate the connections among these accidents and crimes. What is foreshadowed? Are the children holy innocents? God may be in His heaven, but all is not right with the world; the center cannot hold.

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Plot Keywords:

protestant ethic | year 1914 | village | small village | mysterious event | 

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Genres:

Drama | History | Mystery | Thriller

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Motion Picture Rating (MPAA)

Rated R for some disturbing content involving violence and sexuality

Details

Official Sites:

Official site [Austria] Official site [Germany]

Country:

Germany Austria France Italy Canada

Language:

German Italian Polish

Release Date:

5 March 2010 (USA)

Also Known As:

The White Ribbon

Filming Locations:

Evangelical Church, Netzow, Plattenburg, Brandenburg, Germany

Box Office

Budget:

€12,000,000 (estimated)

Opening Weekend USA:

$59,848, 3 January 2010, Limited Release

Gross USA:

$2,222,647, 30 May 2010

Company Credits

Production Co:

X-Filme Creative Pool, Wega Film, Les Films du Losange

Technical Specs

Runtime:

144 min

Sound Mix:

DTS Dolby Digital

Color:

Black and White

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

The choice to make the film in black and white was based partly on the resemblance to photographs of the era, but also to create a distancing effect.

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Goofs

In the scene when the farmer sits next to his wife's corpse, the actress's breathing is noticeable.

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Quotes

The Doctor: My God, why don't you just die?

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Crazy Credits

The opening and closing credits are shown in complete silence. There is no music or other sounds during both entire credit sequences.

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Connections

Featured in Mein Leben: Michael Haneke (2009)

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Soundtracks

O Sacred Head Now Wounded
(uncredited)
Lyrics from a mediaeval Latin poem
Music by Hans Leo Hassler
Sung in the church

User Reviews

Exquisite and brooding mood-piece

Few film auteurs can match the consistency of Michael Haneke, and once again the Austrian filmmaker has come up trumps with an exquisite and brooding mediation on repression, tradition and the sins of the father.

Shot in stunning black and white, the film chronicles a series of mysterious events in a town leading up to the outbreak of WWI. The pace is slow and thoughtful, and the film is reference to August Sander while being a respectful throwback to the German expressionists whose work would come out of the horrors the film's narrative seems to foreshadow.

The hallmarks of Haneke's body of work are all there – elegiac tone, clinical editing, wincingly frank dialogue – but in many ways The White Ribbon stands alone in the canon. It is a challenging work that will polarise audiences but represents a breathtaking new wave not just in the director's career but in European cinema.

Some might say the film's inherent flaw is that there is no-one to root for, but this is perhaps its key strength. It's certainly plausible that this is Haneke's intention: he wants to position us as mute outsiders to a slowly creeping menace, unable to have a say in the invisible horrors that await us. The result is a deadening and thoroughly rewarding experience - a combination few filmmakers could hope to achieve.