Review of: Mephisto 1981

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On 24.06.2020
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Vielleicht fr Spieler entscheiden, die sich auf letzteren bezieht.

Mephisto 1981

Mephisto. Fr | | Film im rbb. Klaus Maria Brandauer und Rolf Hoppe in István Szabós mit dem Oscar preisgekrönten Welterfolg. Kommentieren​. Ausgezeichnet auf den Filmfestspielen Cannes und als bester fremdsprachiger Film mit dem Oscar! gruzowisko-rpg.eu "Mephisto" muss man gesehen haben, denn. Mephisto. Ungarn BR Deutschland / Spielfilm. Mephisto; Quelle: DIF, FMD. Quelle: DIF, FMD. Klaus Maria Brandauer.

Mephisto 1981 Statistiken

Der Schauspieler Hendrik Höfgen ist der Publikumsliebling auf Hamburgs Bühnen. Nach seinem Umzug nach Berlin avanciert er auch hier schnell zum gefeierten Star. Als die Nationalsozialisten an die Macht kommen, schlägt er alle Warnungen seiner. Mephisto ist ein deutsch-ungarisches Filmdrama von István Szabó aus dem Jahr Sein Drehbuch basiert auf dem gleichnamigen Roman, den Klaus Mann. Mephisto. Fr | | Film im rbb. Klaus Maria Brandauer und Rolf Hoppe in István Szabós mit dem Oscar preisgekrönten Welterfolg. Kommentieren​. Klaus Mann hat im Exil den Roman Mephisto geschrieben und István Szabó hat ihn verfilmt. Dank der guten Schauspieler, allen voran Klaus Maria. Ausgezeichnet auf den Filmfestspielen Cannes und als bester fremdsprachiger Film mit dem Oscar! gruzowisko-rpg.eu "Mephisto" muss man gesehen haben, denn. Mephisto - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | gruzowisko-rpg.eu Film-/Videoformat: 35 mm; Länge in m: ; Anlaufdatum: ; Literarische Vorlage: Mann, Klaus: "Mephisto", Roman. Filmplakat zu "Mephisto"​.

Mephisto 1981

Ausgezeichnet auf den Filmfestspielen Cannes und als bester fremdsprachiger Film mit dem Oscar! gruzowisko-rpg.eu "Mephisto" muss man gesehen haben, denn. Film-/Videoformat: 35 mm; Länge in m: ; Anlaufdatum: ; Literarische Vorlage: Mann, Klaus: "Mephisto", Roman. Filmplakat zu "Mephisto"​. Mephisto - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | gruzowisko-rpg.eu

He closed his eyes to the beatings of the Jews he witnessed, the expelling of his lover, the escape of his wife, the banning from theater of his friends, etc.

And yet, has he become the reincarnation of evil, the real Mephisto? I am inclined to think that Hoefgen had good intentions about his closest who opposed the system.

This is shown by the fact that he insisted in front of the Nazi officials for his black lover to leave Nazi Germany safely and that his friend, Ulrichs, be rehabilitated.

And he did it successfully. At that point comes the question whether Hoefgen made the right choice - should he have gone to the opposition and thus failed to save anyone, or he did the right thing by accepting Mephisto's offer and becoming a man of certain influence which he used to save his closest?

Then again, do you close your eyes to the brutality around you as long as you and your friends are safe? A very interesting comparison can be made between the actor Miklas, played by the Hungarian Cserhalmi and also seen in the Czech Oscar-nominated production "Zelary" and other legendary films by the Hungarian directors Bela Tarr and Miklos Jancso, and Hoefgen.

The former is an ardent supporter of the Nazis at the beginning but later becomes disillusioned and chooses the opposition. Hoefgen, on the other hand, moves in the opposite way in the movie.

From an opponent of the Nazi "Mörderpakt" "murderous thugs" as he calls them at the beginning, he becomes a follower albeit no participant and goes as far as to betray Miklas and his plan to the Nazi officials, resulting into Miklas' death.

At the moment when Hoefgen learns about his death, he refuses to believe he was murdered but instead insists it was a car accident.

In the close up of Brandauer's face talking to the woman, I believe the viewer can read regret in his eyes Through both characters, and mainly through Hoefgen, Szabo raises the topic of the role of the intelligentsia in the Nazi rise to power.

What were they supposed to do? The ones in the opposition either died or went into exile as Hoefgen's wife. The rest followed the Nazis, willingly or not.

In that age of hopelessness, should one sell his soul to Mephisto as Hoefgen did - then rise to power and save whomever you can?

It was recently revealed he was an informant for the Hungarian government in the 50's. In an interview he claimed to have saved himself and a friend of his from "being gibbeted".

Resemblance to Hoefgen? The towering performance of Brandauer as Hoefgen is absolutely stunning. His face, stature, looks, eyes, everything fits perfectly into the image of the divided personality of the main character indicative of this personality is the Nazi general's inquiring why Hoefgen has such a soft handshake.

Regarding the images, there is hardly a viewer who can forget Mephisto's white face on Brandauer and the shots of Hoefgen's moments of madness, estimation, megalomania, anger Especially powerful is the last scene where Hoefgen is running and trying to hide from the giant searchlights of Olympiastadion in Berlin, his curved, almost crying face, and saying, "Was wollt ihr von mir?

Ich bin nur ein Schauspieler. I'm just an actor Everyone knows the story of Faust: a man sells his soul to the Devil in exchange for something.

Well, as we learned in the Rolling Stones' song "Sympathy for the Devil", the Prince of Darkness doesn't necessarily appear as a mustachioed red being with a bifurcated tail.

In "Mephisto", the Devil appears as an ideology-turned-governmental-system: Nazism. And in this case, the Devil doesn't request your soul, but rather a favor: that you work for it.

Hoefgen has felt shame all his life and has often worn white make-up, as if to hide behind it. But the Nazis make him feel powerful, and so he works for them; metaphorically, he sells his soul to them.

Loulou-8 7 November This was a superbly acted and visually stimulating film. The most interesting element for me was Hendrik's refusal to allow his conscience to interfere with his life's work as an actor.

Being an actor, and more importantly an actor able to act in his mothertongue in his own land, is all to this man. Initially indifferent to the rise of the Nazis, unable to accept that their government will change his life, he follows them and befriends a high-ranked Nazi so that his "art" might continue.

But it can never be as it was before. Yet he continues to do as he is told, to use the theatre as a propaganda medium, without questioning the consequences.

He cannot admit to himself that he has made the wrong decision and even when he is in Paris and is presented with another opportunity to escape the Nazi regime, he returns to Germany to the pursuit of his theatrical life, no matter how restricted it is.

Excellent film with a very good lead performance. The machinery of self chaos-rampant 22 July This is not as deeply felt as Tarkovsky, nor as ambiguously sketched as Resnais.

It works from a 'real world', a historic one at that. But it's a good film because it's committed to clearly spin and align the different layers of self.

The story is Faust, both the film and the play-within. Our film is about an actor who sells his soul for a gilded life on the stage, the play is where he is Mephisto - not Faust - and tries to reason with his decision to be Faust, and a third layer is about an era, Nazi Germany in the early years that was also about a Faustian bargain and staged images of power.

The protagonist is an actor from the German stage and plays one. It has a Hungarian filmmaker at the helm who knows probably too well the type of life from the Eastern Bloc.

So this succeeds where Hollywood's Cabaret felt contrived and false, because everyone is a step closer to the nervous soul of that world.

Something is quite brilliantly handled here, and I believe it's this; one of the conceits of our actor, a leftist in the early days, is for a Peoples Theater that directly involves and agitates into action.

Of course that's all gone when the Nazis come into power, with their Wagnerian notions on the ideal and the pure. He has to do Hamlet, the ambition however is still the same, a play that involves the audience, but in this environment seems ludicrous and hypocritical.

It's a state-sponsored event after all. Now we see several excerpts of Faust, and more shots of our man backstage in pale Mephisto make-up acting the role in real life, but we never see Hamlet.

We never see just how he intended this Peoples Theater. We skip to the curtain call and rapturous audience applause. But of course, the main thrust of the film is that of a man, and later society, that simply doesn't know where the stage ends and life begins.

His way of involving the people, in a broad sense, is acting out in this world that is all about posturing and pretending, but doing so in a way that actually saves lives.

The man can thrive in this world, because the world has shifted to align with what he was all along. He doesn't become true, the world becomes as false as he is.

It's the stage and lights that shift, so when the narrative planes align for us, we understand that all along he was a decent human being.

The chilling finale has him on that stage that is the yawning void where the machinery of self is decided. Just who controls the lights that he acts to?

If I would have to choose the best movie ever a ridiculous question I would opt for this one. It is entertaining and beautifully made, but it also gives you a lot to think.

The film shows how a series of rather small understandable compromises, none of them very terrible in itself, can slowly lead to erosion of character and morality and in the end to terrible things, like siding with the Nazis and betraying your lover.

Emotional, furious, frustrated, pretty straightforward, concerned about perfection, so vital on rehearsals Hendrik Hoefgen, an actor who is found to have an interesting head to be sculpted, a man with his desires and ambitions, an artist who experiences a strange way from Hamburg to Berlin of the s.

What does he have to learn on this journey to the great capital and a great career? Some say compromise, others humiliation. If the latter exaggerate, it's going to be the compromise that will lead to something Hendrik would probably never want nor expect Therefore, we could say that it is partly a biopic.

Yet, this view would lead to confusion and misinterpretation. MEPHISTO is foremost a film about a life in a particular situation, about decisions one has to make, about burden one has to carry, about misunderstanding one has to prepare for and about treason one has to cope with.

Hendrik Hoefgen Klaus Maria Brandauer appears to be a very complicated person: he wants to do something powerful yet, he is haunted by insecurity and fear that lie within his four walls of the psyche.

As a result, he wears a "symbolic mask" among people. The role of his life is Mephisto which he portrays twice. However, he does not expect that this second time, in order the portrayal to be accepted, he will have to adjust it.

Moreover, what he never foresees is that he will also have to adjust his entire life and career in order to exist. The moment that presents his character in a nutshell is the meeting in the theater with Nazi Prime Minister Hermann Goering Rolf Hoppe - his behavior changing from insecurity and soft handshake so despised by the new leaders to cold smile and obedience.

Then, they will start to "like" him, then, they will call him Mephisto our "Mephisto". But is that the only way to popularity? It's a movie about a particular reality presumably a political content that Germany was exposed to in the s, the reality that never leaves you indifferent.

It is a movie that provokes emotional thoughts in any viewer ready to reflect. A pack of fanatical men rule, force a "code of proper beliefs and behavior" and Either immigrate or adjust oneself to this reality.

Those who reject a new vision of Germany e. Hans Miklas or Otto Ulrichs experience the worst of course, communism was another evil of the time ; those who immigrate Hendrik's wife Barbara are regarded traitors; yet, those who stay and parrot the "pseudoclassic slogans" are, for the time being, used for certain purposes.

Yet, not all people can choose In this case, a very interesting, though upsetting, facet of the problem is developed: racism.

Hendrik's mistress Juliette Martens Karin Boyd is black, she wants to have a baby. However, the career of the actor and the director of Berlin theater would come to an end.

He cannot dare for love with a black woman. In a memorable scene, she asks him desperately: "What guilt is there to blame on a child born of black mother and white, famous, father?

Juliette looks at him in despair and says: "Do you still recognize yourself? You must see this scene, a little psychological pearl! The performances are terrific.

Klaus Maria Brandauer portrays his part in a very powerful way. You see an actor playing an actor, a mask among people, an actor in his roles, an actor in his life, a person who once appreciated freedom; yet, in time, asks himself "Freedom?

What for? I think that if you like Mr Brandauer as an artist, you would definitely regard this role as one of the best ones except for Redl and Nebuchadnezzar I am proud to say that Krystyna Janda, a Polish actress, is in this film.

Although I don't list her as one of my favorite actresses, I have to admit that she very well fits to the role of Barbara Bruckner, Hendrick's wife.

In a memorable conversation in Paris, she does a very fine job showing helplessness, rejection and disgust to what happens in Berlin.

As for purely technical aspects, the movie does not boast much. The picture is rather pale and the camera job is also not very outstanding.

Yet, Sztabo's film is primarily meant to win by its content, to leave something psychologically precious in the viewers, appears to be more for the MIND than for the EYES.

Therefore, this weaker cinematography may be forgiven for the sake of flawless aspects galore. MEPHISTO, though a sad and rather a depressing movie, is a must see for people who appreciate thoughts, who want to get something from a film.

Perhaps not that historical to the letter but a pretty nice insight into a complexity that human appears to be. But see it in spring or summer rather than long, dark and upsetting autumn evenings.

The movie invites the viewer to see World War II from a seldom-explored perspective, that of the arts. And in the middle is Hendrik Hoefgen, an actor who just wants to survive and get fame but by his own fault ends up involved in the higher echelons of the Nazi Party and becomes director the State Theater, immortalized by his performance as Mephisto because of the values this character seems to share with the ideal German the Nazis are trying to create.

The movie poses the question, can art remain pure amidst political times; and if Hoefgen's life is any indication, then no, it can't. It can revolt and flee for safer places, or it can stay and become a corrupted tool of ideology.

Hoefgen, although never played as villains, is a deeply flawed man and hardly innocent of his dealings with the Nazis.

Throughout the movie he's described as a self-promoter who cares only about himself. Such is his intention to please that he always goes back to the Mephisto role, the one he's more popular with.

Eventually one wonders where Hoefgen ends and the character begins, as people call him Mephisto as if that were his real name.

In the end, though, he's more of a Faustian character than a true seductive devil. He symbolises everyone who happily compromised with the the Reich.

He's never treated with pity, for it's obvious he knew what he was getting himself into. And yet one can't help feel pity for Hoefgen and the way he slowly loses power over himself until he becomes just a lackey of the state.

Klaus Maria Brandauer gives a magnificent performance as Hendrik Hoefgen. He plays it with an endless range of emotions, so conflicted is his mind.

Another great performance was delivered by Rolf Hoppe as the Prime-Minister, a patron of the arts and Hoefgen's admirer and protector. Hoppe plays his character unlike any Nazi I've ever seen, like a real person, which only makes his reserved outbursts more violent.

From a technical point of view, the movie is nothing outstanding. He lets the screenplay and actors do all the work, allowing the movie to develop slowly until the fascinating ending.

It may be a difficult movie to watch, but one that rewards patience. Much is said of Brandauer's performance here and it is an actor's performance par excellence: look at me, look at me, I am so good, and don't turn away, look at me again.

In this respect he is like Robin Williams in one his manic performances which also craves attention and while Brandauer is a brilliant stage performer - the scenes of him on stage are amongst the best in the whole film - his stage-bound acting style in most of the rest of the film is like some psychopath with ADD.

This gives the film problems because it fails to build empathy with his ordinary situation: how to deal with an evil government and have a conscience.

This problem is compounded by the close up camera: we are always looking at his face in some unendurable clinch as he tries to kiss us and ask us how good he is again and again.

The other weakness is the long build to the story. The film takes 40 minutes to become interesting; the preamble is just Brandauer's character being selfish and self-absorbed.

Even though its references to the epic tale of Faust are obvious, the film doesn't fall to highlighting nor underestimation of the viewer.

It's a clever film, characterized by strong aesthetic styling, about art, evil and people living in the shadows of power. A German stage actor Hendrik Hoefgen has to choose between his political ideologies and his career when the Nazis win the election in the year He has to abandon the left-wing circles in which he has been working before.

He's a married man but has an affair with a black German woman. Germany wants to destroy all arts that aren't truly German, due to which Hendrik gets the role of Mephisto.

He has to keep playing this role which is in the popularity of the Nazis, in order to keep his highly valued status. Faust is Germany's national epic which is an ancient folks tale but generally known as written by Johann Wolfgang von Goethe.

It's a story about a man who sells his soul to the Devil. Quite an eternal tale; Faustian contracts are signed every now and then in the modern world.

Mephisto is a fictional character in the book. He wagers with the archangel Gabriel that every man can be enticed to join the dark side.

Gabriel chooses Faust, a religious servant of God, as their target of the bet. Mephisto sends a plague to Faust's village and the villagers ask for a helping hand from him.

But Faust is unable to help the villagers because God doesn't answer to his prayers. Totally desperate, Faust resorts to Mephisto the demon.

Mephisto agrees to help but at the same makes him an offer -- eternal youth with all its pleasures.

In order to attain this, Faust must sell his soul. This is how the story goes or at least the original folks tale with which I am more familiar with, compared to Goethe's book.

But back to the film. Once, when Hendrik has just performed at stage as Mephisto, he goes up the stairs to the box seat of a Nazi general.

The general flatters him and they talk a little. The audience turns around and starts staring at them. The play is no longer performed at stage but in the seats, in the life of the real characters of history.

This is the scene where fiction becomes reality. The camera takes a long shot of the theater hall as Hendrik, or Mephisto as the general calls him, shakes hands with the general -- a Faustian contract has been signed.

To my mind, the film realized brilliantly how to use the face of Mephisto. First on Hendrik, then on the German officers around him and then on his wife.

The face equals the mark of evil. It represents something Hendrik has now turned into. And, in the final scene, he runs to the field, followed by the spotlight, stops and says: "What do they want from me now?

After all, I am just an actor. The trial of Nurnberg for instance, and other smaller trials. Many artists were accused for working for the Nazis.

But Hitler's propaganda-filmmaker, Leni Riefenstahl, for example said that she only made movies, nothing else.

Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings.

External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. In earlys Germany, a passionate stage actor finds himself before a dilemma: renounce his apolitical stance and comply with the Reich's doctrine, or face oblivion.

But, Faustian bargains never end well. What is the price of success? Added to Watchlist. Watchlist Favourite movies.

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Won 1 Oscar. Hendrik Höfgen Krystyna Janda Nicoletta von Niebuhr Rolf Hoppe Otto Ulrichs Karin Boyd Juliette Martens Christine Harbort Genres: Drama.

Edit Did You Know? Trivia Based on the novel "Mephisto" by Klaus Mann , which obviously portrays his former brother-in-law Gustaf Gründgens.

Therefore, it was banned in Germany until Quotes Hendrik Hoefgen : What do they want from me now? After all, I am just an actor.

Mephisto 1981 Navigation menu Video

Folge 11: Warum gilt Wilhelm Furtwängler als größter Dirigent aller Zeiten? Mephisto: Ein Stück der Weltliteratur, das Geschichte machte. Oscar-Preisträger Klaus Maria Brandauer in einer seiner größten Rollen - mit einer. Klaus Maria Brandauer. MEPHISTO. Director: István Szabó. Release Year: Country: BRD/H/A. BUCH: Péter Dobai, István Szabó, nach dem Roman von. Mephisto. Ungarn BR Deutschland / Spielfilm. Mephisto; Quelle: DIF, FMD. Quelle: DIF, FMD. Klaus Maria Brandauer. Mephisto 1981 Lajos Koltai. Rolf Hoppe. Deutsche Dialoge Carla Hesse. Oberst Redl. Während er immer einsamer Romantischer Sexfilm, versucht er, vom Regime Verfolgte am Theater zu halten. Mit der Nutzung stimmen Sie Finding Carter Verwendung zu. Als seine Frau ebnet sie ihm nicht nur den Jason Mantzoukas in gut situierte Kreise, sondern Wm 2019 Online Schauen nach Berlin. Der Roman zeichnet schwach verhüllt den beruflichen Aufstieg des Theaterschauspielers, -regisseurs und -intendanten Gustaf Gründgens in der Zeit des Nationalsozialismus nach. Aguirre, der Zorn Gottes. Carolyn Murphy führt ihn seine Erfolgslaufbahn steil nach oben, denn der mächtige Luftwaffengeneral protegiert ihn.

Mephisto 1981 - Film-Bewertung

Durch den Verzicht auf eine Entschlüsselung der Figuren als Realpersonen meide der Film den Klatsch und gewinne Allgemeingültigkeit für andere totalitäre Regime. Tragen Sie hier ihre Mailadresse ein. Deutsch , Ungarisch. Anmelden Registrieren. To my mind, the film realized brilliantly how to use the face of Mephisto. What to Stream on Prime Video. Klaus Maria Brandauer portrays his part Rtl Plus Stream a very powerful way. Most of the Tribute Von Panem 3 Kinox the film seems to run through a mental check-list of what respectable cinema should be and although, yes smarts in film is a good thing and should be brought to the table Aladdin Online Stream much as possible, Dr House Kinox seems to have forgotten to bring drive to the story and so it seems to drag out far longer than necessary. Excellent film with a very Mephisto 1981 lead performance. Nachdem die Nazis Miklas ermordet haben und den Dragonball Heroes Ger Sub als angeblichen Autounfall vertuschen, bemerkt Höfgen, dass die Nazis über Leichen Bobby Driscoll. Erstaufführungsplakat DDR. Direktor Oskar H. Heinz Freitag. Kommentare zu Mephisto werden geladen Er Stella Carlin sich immer wieder zu der Idee zu retten, dass seine Kunst abseits von aller Politik angesiedelt sei. Wenn Schauspielerinnen völlig blankziehen

Mephisto 1981 Filmdatenbank

Der Film reduziert die Bezüge zu Gründgens und verdichtet die fiktionalisierte Hauptfigur Hendrik Höfgen zur Beispielhaftigkeit, zum Typus des anpasserischen Charakters und Das Siebte Kreuz Film Stream Künstlers, der seine Überzeugungen dem beruflichen Erfolg opfert. Der blaue Engel. Kommentare zu Mephisto werden geladen Trending: Dsds Dubai diskutierte Filme. Kommentar speichern. Er ist dort schon längst "der Erste", der bekannteste und beste Schauspieler am Platz. Uraufführungsplakat Motiv 2.

Cole Smithey. A compelling melodrama, essentially a revisiting of Goethe's version of the Faust legend, revised for the pre-war Nazi rise to power period.

Dennis Schwartz. An inspired update of the Faust legend featuring a tour de force performance by Klaus Maria Brandauer.

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The man can thrive in this world, because the world has shifted to align with what he was all along. He doesn't become true, the world becomes as false as he is.

It's the stage and lights that shift, so when the narrative planes align for us, we understand that all along he was a decent human being.

The chilling finale has him on that stage that is the yawning void where the machinery of self is decided. Just who controls the lights that he acts to?

If I would have to choose the best movie ever a ridiculous question I would opt for this one. It is entertaining and beautifully made, but it also gives you a lot to think.

The film shows how a series of rather small understandable compromises, none of them very terrible in itself, can slowly lead to erosion of character and morality and in the end to terrible things, like siding with the Nazis and betraying your lover.

Emotional, furious, frustrated, pretty straightforward, concerned about perfection, so vital on rehearsals Hendrik Hoefgen, an actor who is found to have an interesting head to be sculpted, a man with his desires and ambitions, an artist who experiences a strange way from Hamburg to Berlin of the s.

What does he have to learn on this journey to the great capital and a great career? Some say compromise, others humiliation.

If the latter exaggerate, it's going to be the compromise that will lead to something Hendrik would probably never want nor expect Therefore, we could say that it is partly a biopic.

Yet, this view would lead to confusion and misinterpretation. MEPHISTO is foremost a film about a life in a particular situation, about decisions one has to make, about burden one has to carry, about misunderstanding one has to prepare for and about treason one has to cope with.

Hendrik Hoefgen Klaus Maria Brandauer appears to be a very complicated person: he wants to do something powerful yet, he is haunted by insecurity and fear that lie within his four walls of the psyche.

As a result, he wears a "symbolic mask" among people. The role of his life is Mephisto which he portrays twice. However, he does not expect that this second time, in order the portrayal to be accepted, he will have to adjust it.

Moreover, what he never foresees is that he will also have to adjust his entire life and career in order to exist. The moment that presents his character in a nutshell is the meeting in the theater with Nazi Prime Minister Hermann Goering Rolf Hoppe - his behavior changing from insecurity and soft handshake so despised by the new leaders to cold smile and obedience.

Then, they will start to "like" him, then, they will call him Mephisto our "Mephisto". But is that the only way to popularity? It's a movie about a particular reality presumably a political content that Germany was exposed to in the s, the reality that never leaves you indifferent.

It is a movie that provokes emotional thoughts in any viewer ready to reflect. A pack of fanatical men rule, force a "code of proper beliefs and behavior" and Either immigrate or adjust oneself to this reality.

Those who reject a new vision of Germany e. Hans Miklas or Otto Ulrichs experience the worst of course, communism was another evil of the time ; those who immigrate Hendrik's wife Barbara are regarded traitors; yet, those who stay and parrot the "pseudoclassic slogans" are, for the time being, used for certain purposes.

Yet, not all people can choose In this case, a very interesting, though upsetting, facet of the problem is developed: racism.

Hendrik's mistress Juliette Martens Karin Boyd is black, she wants to have a baby. However, the career of the actor and the director of Berlin theater would come to an end.

He cannot dare for love with a black woman. In a memorable scene, she asks him desperately: "What guilt is there to blame on a child born of black mother and white, famous, father?

Juliette looks at him in despair and says: "Do you still recognize yourself? You must see this scene, a little psychological pearl! The performances are terrific.

Klaus Maria Brandauer portrays his part in a very powerful way. You see an actor playing an actor, a mask among people, an actor in his roles, an actor in his life, a person who once appreciated freedom; yet, in time, asks himself "Freedom?

What for? I think that if you like Mr Brandauer as an artist, you would definitely regard this role as one of the best ones except for Redl and Nebuchadnezzar I am proud to say that Krystyna Janda, a Polish actress, is in this film.

Although I don't list her as one of my favorite actresses, I have to admit that she very well fits to the role of Barbara Bruckner, Hendrick's wife.

In a memorable conversation in Paris, she does a very fine job showing helplessness, rejection and disgust to what happens in Berlin. As for purely technical aspects, the movie does not boast much.

The picture is rather pale and the camera job is also not very outstanding. Yet, Sztabo's film is primarily meant to win by its content, to leave something psychologically precious in the viewers, appears to be more for the MIND than for the EYES.

Therefore, this weaker cinematography may be forgiven for the sake of flawless aspects galore. MEPHISTO, though a sad and rather a depressing movie, is a must see for people who appreciate thoughts, who want to get something from a film.

Perhaps not that historical to the letter but a pretty nice insight into a complexity that human appears to be. But see it in spring or summer rather than long, dark and upsetting autumn evenings.

The movie invites the viewer to see World War II from a seldom-explored perspective, that of the arts. And in the middle is Hendrik Hoefgen, an actor who just wants to survive and get fame but by his own fault ends up involved in the higher echelons of the Nazi Party and becomes director the State Theater, immortalized by his performance as Mephisto because of the values this character seems to share with the ideal German the Nazis are trying to create.

The movie poses the question, can art remain pure amidst political times; and if Hoefgen's life is any indication, then no, it can't.

It can revolt and flee for safer places, or it can stay and become a corrupted tool of ideology. Hoefgen, although never played as villains, is a deeply flawed man and hardly innocent of his dealings with the Nazis.

Throughout the movie he's described as a self-promoter who cares only about himself. Such is his intention to please that he always goes back to the Mephisto role, the one he's more popular with.

Eventually one wonders where Hoefgen ends and the character begins, as people call him Mephisto as if that were his real name. In the end, though, he's more of a Faustian character than a true seductive devil.

He symbolises everyone who happily compromised with the the Reich. He's never treated with pity, for it's obvious he knew what he was getting himself into.

And yet one can't help feel pity for Hoefgen and the way he slowly loses power over himself until he becomes just a lackey of the state.

Klaus Maria Brandauer gives a magnificent performance as Hendrik Hoefgen. He plays it with an endless range of emotions, so conflicted is his mind.

Another great performance was delivered by Rolf Hoppe as the Prime-Minister, a patron of the arts and Hoefgen's admirer and protector.

Hoppe plays his character unlike any Nazi I've ever seen, like a real person, which only makes his reserved outbursts more violent. From a technical point of view, the movie is nothing outstanding.

He lets the screenplay and actors do all the work, allowing the movie to develop slowly until the fascinating ending. It may be a difficult movie to watch, but one that rewards patience.

Much is said of Brandauer's performance here and it is an actor's performance par excellence: look at me, look at me, I am so good, and don't turn away, look at me again.

In this respect he is like Robin Williams in one his manic performances which also craves attention and while Brandauer is a brilliant stage performer - the scenes of him on stage are amongst the best in the whole film - his stage-bound acting style in most of the rest of the film is like some psychopath with ADD.

This gives the film problems because it fails to build empathy with his ordinary situation: how to deal with an evil government and have a conscience.

This problem is compounded by the close up camera: we are always looking at his face in some unendurable clinch as he tries to kiss us and ask us how good he is again and again.

The other weakness is the long build to the story. The film takes 40 minutes to become interesting; the preamble is just Brandauer's character being selfish and self-absorbed.

Even though its references to the epic tale of Faust are obvious, the film doesn't fall to highlighting nor underestimation of the viewer.

It's a clever film, characterized by strong aesthetic styling, about art, evil and people living in the shadows of power. A German stage actor Hendrik Hoefgen has to choose between his political ideologies and his career when the Nazis win the election in the year He has to abandon the left-wing circles in which he has been working before.

He's a married man but has an affair with a black German woman. Germany wants to destroy all arts that aren't truly German, due to which Hendrik gets the role of Mephisto.

He has to keep playing this role which is in the popularity of the Nazis, in order to keep his highly valued status. Faust is Germany's national epic which is an ancient folks tale but generally known as written by Johann Wolfgang von Goethe.

It's a story about a man who sells his soul to the Devil. Quite an eternal tale; Faustian contracts are signed every now and then in the modern world.

Mephisto is a fictional character in the book. He wagers with the archangel Gabriel that every man can be enticed to join the dark side.

Gabriel chooses Faust, a religious servant of God, as their target of the bet. Mephisto sends a plague to Faust's village and the villagers ask for a helping hand from him.

But Faust is unable to help the villagers because God doesn't answer to his prayers. Totally desperate, Faust resorts to Mephisto the demon.

Mephisto agrees to help but at the same makes him an offer -- eternal youth with all its pleasures.

In order to attain this, Faust must sell his soul. This is how the story goes or at least the original folks tale with which I am more familiar with, compared to Goethe's book.

But back to the film. Once, when Hendrik has just performed at stage as Mephisto, he goes up the stairs to the box seat of a Nazi general.

The general flatters him and they talk a little. The audience turns around and starts staring at them. The play is no longer performed at stage but in the seats, in the life of the real characters of history.

This is the scene where fiction becomes reality. The camera takes a long shot of the theater hall as Hendrik, or Mephisto as the general calls him, shakes hands with the general -- a Faustian contract has been signed.

To my mind, the film realized brilliantly how to use the face of Mephisto. First on Hendrik, then on the German officers around him and then on his wife.

The face equals the mark of evil. It represents something Hendrik has now turned into. And, in the final scene, he runs to the field, followed by the spotlight, stops and says: "What do they want from me now?

After all, I am just an actor. The trial of Nurnberg for instance, and other smaller trials. Many artists were accused for working for the Nazis.

But Hitler's propaganda-filmmaker, Leni Riefenstahl, for example said that she only made movies, nothing else. So is one either part of the solution or part of the problem?

The themes of evil, art and inner darkness characterize this aesthetically stylized historical war film. But it can never be as it was before. Yet he continues to do as he is told, to use the theatre as a propaganda medium, without questioning the consequences.

He cannot admit to himself that he has made the wrong decision and even when he is in Paris and is presented with another opportunity to escape the Nazi regime, he returns to Germany to the pursuit of his theatrical life, no matter how restricted it is.

Excellent film with a very good lead performance. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist.

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By signing up, you agree to receiving newsletters from Rotten Tomatoes. There are no approved Spiegel Karriere yet for this movie. The audience turns around and starts staring at them. Yet, when he realizes that they are willing to give him the chance to become famous and respected, signs of hesitation can be hardly found - he grasps the opportunity to be in Berlin and be a director of the National Theatre. The issue is Alles Steht Kopf Stream Deutsch the story appears like a simple sketch, which never explores the main subject with depth. György Cserhalmi. Mephisto: Ein Meisterwerk! Martin Hellberg. Cant Buy Me Love der Zwanziger Jahre begeistert er sich für die Idee, Theater für die breitesten Bevölkerungskreise zu entwickeln. Teri Tordai. Krystyna Janda. Kostüme Agnes Gyarmathy. Hans-Ulrich Lauffer. Der Räuber.

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3 Kommentare

Maular · 24.06.2020 um 22:30

Mir scheint es der ausgezeichnete Gedanke

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