Mephisto

Brandauer is phenomenal.

Szabo brings out the finer points of Peter Dobai's literate script (based on the Klaus Mann novel), and Brandauer is fantastic as the all-too-human actor who craves success above all else. Hendrik's tragedy is that he is entirely aware of his own shortcomings, and yet he continues down the path towards his own damnation. That kind of self-love/self-hate push-pull has always fascinated me, and Brandauer balances it perfectly --an actor acting an actor acting an actor.

The acting allegory was much more subtle than I expected, but no complaints; it fits into the film perfectly. This is an amazingly well-made film. The production values are off the charts, the set design and camerawork beyond impressive, and the lead performance by Brandauer is a thing of beauty. There are lots of layers to be peeled back here in the parallels between his role as an actor and in the Nazi party. This makes a great companion piece to The Conformist.

This movie reminded a lot of Fassbinder: the vivid colors, the period, the particular style of political allegory. Something like a Fassbinder version of The Conformist, perhaps. Klaus Maria Brandauer is superb in the lead, a very complicated role. As an actor, Hendrik is a natural at putting on a facade, and the audience is often unsure of exactly where he stands. I would say the film is a little blunt at times, but I still very much enjoyed it.

Its grand scope and sharp dialogue and Brandauer's bravura acting tend to distract from the fact that "Mephisto" is more surface than it could be (particularly regarding Mephisto's relationship with his art and the motives behind his transformation). The first half is really strong but the film kinda loses steam as the protagonist gradually turns into a passive figure. Which is kind of the point but still, I couldn't get enough of Brandauer's histrionics.

Shallow work in deep waters.

It has and interesting visual design and a good script, but the force of the film rests in the hands of Klaus Maria Brandauer, who manages to convey his characters complex and variable strengths and weaknesses in a very profound and organic way. Excellent examination on the struggles of balancing conformity, action and ambition.

# 800

A well acted and good looking film that explores the moral (and in this case also artistic) disintegration that often goes hand in hand with opportunism. Unfortunately it doesn't really dig deep enough.

768

The Nazi SS atmosphere conflicts directly with art and freedom

Estreava há 40 anos na Hungria. História baseada na vida do cunhado de Klaus Mann (que saiu no Brasil pela Estação Liberdade), o ator Gustaf Grundgens que trabalhara no cinema com Fritz Lang e Max Ophuls, é um belo tratado sobre o que tiveram que passar as almas vendidas ao diabo pelos artistas que resolveram ficar na Alemanha durante a ascensão nazista. Plus: Esse filme faz uma ótima sessão dupla com o Laissez-passer do Tavernier, sobre o cinema francês durante a ocupação nazi. MKO

good movie

Compelling portrait of an apolitical actor who gradually collaborates more and more fully with the Nazi regime in 30s Germany, ultimately finding his hand forced when politics and art collide. A superb lead performance by Klaus Maria Brandauer carries it; the script is a bit uneven, especially in regards to the supporting cast, and the Faust parallels are a bit forced. Istvan Szabo's direction is solid, but a little more cinematic flair would have been desired. A worthwhile film, nonetheless.

817

#871