Reżyseria:
Margarethe von TrottaZdjęcia:
Caroline ChampetierMuzyka:
André MergenthalerObsada:
Barbara Sukowa, Axel Milberg, Leila Lallali, Janet McTeer, Julia Jentsch, Ulrich Noethen, Michael Degen, Victoria Trauttmansdorff, Nicholas Woodeson (więcej)Opisy(1)
Hannah Arendt na początku lat sześćdziesiątych mieszka z mężem w apartamencie na Manhattanie. Prowadzi wygodne życie docenianej pisarki i filozofa. Gdy dowiaduje się, że w Argentynie pojmano Adolfa Eichmanna, nazistowskiego funkcjonariusza odpowiedzialnego za plan masowej eksterminacji Żydów w czasie II wojny światowej, postanawia na własne oczy zobaczyć proces zbrodniarza. Arendt pisze relację z przebiegu procesu dla „The New Yorkera”, następnie postanawia swoje wrażenia opisać w książce (słynnej „Eichmann w Jerozolimie”). W czasie procesu Arendt - a wraz z nią cały świat - widzą na ławie oskarżonych spokojnego, przeciętnego w zachowaniu urzędnika, który wcale nie wygląda jak dyszący krwią potwór (w filmie zamieszczone są prawdziwe nagrania z procesu). (Aurora)
(więcej)Materiały wideo (2)
Recenzje (4)
Hannah can be uncompromising and totally emotionless, but overall, she has one main goal – Adolf Eichmann who will probably keep her awake for the rest of her life. The director Margarethe von Trotta has fairly accurately shot the story of someone who wanted to destroy Eichmann in court. Live action scenes are complemented by real-life shots that can make your blood run cold at times. There are all sorts of people in the world and so I’m willing to believe that they can keep on surprising you throughout life. However, it’s a pity that the two hours of this movie dragged on quite a lot. I felt like the movie was trying to analyze Hanna and Adolf more than trying to tell a unique story. Even so, it’s a story about Nazi Germany that you need to know and watch.
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She didn't consider herself a philosopher, yet she still thought philosophically. She was at the trial of Adolf Eichmann, the monster who was supposed to be the one to devise the final solution for dealing with the Jews. Hitler's engineer of genocide. But Arendt realized that she was not facing a monster, but a normal person. At least at first glance. That's not what people want to see. They want to see a monster, they want to see a chimera. Such a monster can't be like them. This is one of the reasons why Hannah Arendt did not have an easy life and why her views were not positively received. Even if she didn't defend the monster, they still looked down on her. The film has great visuals, but more importantly, it highlights a topic to ponder. The quality of the performance, which interestingly combines feature film with archival footage, is an interesting added value. However, the film itself does not bring that much extra and is similarly engineered as The Iron Lady.
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In Hannah Arendt, I appreciate the strength of her personality, her perseverance and stubbornness in the fierce struggle for truth and her own opinion. That's why I was thrilled to see a film about her at the German Film Awards. It's not exactly a movie for the mainstream audience, but I still think it's the right and dignified choice to kick off the Deutscher Filmfest 2013. Barbara Sukowa shines and excels from the very first minute she appears on the screen. The award for the best acting performance belongs to her absolutely deservedly. The strongest moments are her contemplation with a cigarette and her lecture/defense in front of students. I might point out the length, but nevertheless the film flows slowly, probably intentionally. It's a solid four stars, but for Barbara Sukowa's exceptional performance, I'm moving it up by one star.
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Another meeting between Margarethe von Trotta and Barbara Sukowa (or Lola, Berlin Alexanderplatz). This time in a masterful dialogue about the nature of evil. The film focuses on the period in the early 1960s when Arendt was reporting for "The New Yorker" on "Eichmann in Jerusalem: a Report on the Banality of Evil."
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