It is difficult to find sympathy for someone recounting an incident occurring over sixty years ago, and only offering explanations for their actions now. One wonders Frau Traudl Junge’s motives for such an open interview/documentary would be? Perhaps this is her chance to express her guilt before a self-imposed execution (she died of lung cancer shortly after the film was released).
In Blind Spot: Hitler’s Secretary, the interview shows Junge discussing the two distinctly different sides to Adolf Hitler. The caring employer and family man, who loved his dog Blondi, and acted as the paternal figure for many impressionable youths. Then there was the monster. The delusional, stubborn tyrant who
In terms of pop-culture, the ‘joke’ of Homer Simpson working for evil crime boss intent on taking over the world isn’t too far off the mark for what is being portrayed here. But this is clearly much more serious. The Distress shown by Junge when she is pictured watching her own interview highlights the immense embarrassment she feels for her naiveté and complicity towards the war.
If anything, Downfall not only supports her account, it attacks every issue with such graphic honesty and disregard. Here, Junge is an attractive 22 year old (Alexandra Maria Lara) whose first impression with Der Fuhrer leaves a lot to be desired, but here Hitler displays an understanding and compassion that according to the Apprentice would be sadly lacking (in an ironic way) to Alan Sugar. Despite the nervousness and mistake, she gets another shot, leading to a job much to her relief. Lara's own beauty is matched by her performance of innocence and naivete, coy to the point that she needed the paternal reassurances from the Fuhrer.
Fast forward to the early signs of the Nazi’s demise, and the remaining belief of Junge and fellow administrative staff is in part staggering, but on the other hand, understandable. She is loyal to her father figure without actively taking the enemy’s life, but willing to offer a complicit suicide to re-affirm her devotion to the leader. Hitler’s own stubbornness is only compounded by the misguided propaganda merchant and ‘yes-man’ Goebbels, who seemingly seeks to please Hitler at every opportunity, and breaks down when he is offered the chance to be spared from suicide. It is the underlying effect of control and persuasion that runs through the veins of this film, as you see the Goebbels family sing songs to please Uncle Adolf at one point, then later in the film, be poisoned after incapacitation due to a mixture designed to induce sleeping, by their ‘doting’ mother and father.
The disillusionment of the youth is also an important factor. Despite the dissension in the ranks amongst Himmler, Goering, Speer, Fegelein, and the doctors who see the explosive consequences of the Nazi’s unwavering stance firsthand, young boys and girls continued to fight till the last, even offering themselves to be killed by the comrades in arms when all became futile. The impact of the artillery is as shuddering as any US-centred war film. Nuclear may be more harmful, but the thundering sound of shells crashing into buildings, cars, even people is as terrifying as Hitler’s venomous tirades on those who betrayed him.
The brutal honesty is tanks in part to the attention to detail from the cast. Bruno Ganz studied Parkinson's patients in a Swiss hospital to prepare for his role as Hitler, whilst the accent was nailed by taking advice from a young actor from Hitler's area. But it's the little things make the film so open, and Ganz's belligerent performance is probably as realistic as it could be. It all could have been so one-sided; a piece of propaganda to continue this trend of how evil the Germans were, and infect future generations with imagery of the Germans always being the Auld enemy.
But here we have two excellent performances from Christian Berkel and Matthias Habich as Doctors Enrst Gunter Schenck and Werner Haase, who witness first-hand the carnage and hope for a quick end and blood to be spared, whilst treating victims gunned down in the process of carrying out their misguided actions. You ultimately feel remorse for those that wanted an end to the bloodshed long before Hitler ever did, but their complicity may well be a thorn in their side with regard to relationships with Jewish people, and neighbours Holland etc.
It was recently asked, “Is it time to forgive the Germans?” That question may have been on a comedy show, but on the evidence of this film, serious consideration could even be given from those with very long memories.
Craig Aston.
Previous Say Anything Articles:
Brits 2005.
Did Anything Actually Happen In 2004?
Ten Reasons To Love Hugh Grant
The State of British Tv Drama
Mercury Music Prize 2004.
Top Up Tv - You Get What You Pay For?
Dr Who - Time For A Change?
Music For The Broken Hearted.
For Those About To Rock...Dolce and Gabanna Salute You
Classifying Music
My Name's Richard and I Am An Addict.
Nelly - Work It
British Film Industry "On The Rocks"
Freeview: You Get What You Pay For?
Good DVD, Bad DVD
ITV In The Doghouse
The Lack Of British Sci-fi / Fantasy Tv
Britain's Greatest Screen Actor?
Comic Movies
The Best Films of The Year...So Far
Whatever Happened To Sky One?
Timelash
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