Trouble in the Rubble
Written: Dec 24 '06 (Updated Dec 25 '06)
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Product Rating:
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| Bang For The Buck |
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Pros: Cate Blanchett; intensely retro Film Noir technique
Cons: Obviously derivative; muddled ending
The Bottom Line: If Noir is your favorite color, why not indulge yourself? Soderbergh sure did.
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| waynio's Full Review: The Good German |
Watching Steven Soderbergh's "The Good German" is like going for a spin in a reproduction of a classic British roadster, built with meticulous attention, with a few modern upgrades thrown in. It may be a swell ride, but one can't help remembering that this is a simulacrum, constantly referring to something else from another time.
Based on Joseph Kanon's novel, set in the bombed-out ruins of 1945 Berlin, this is the story of war correspondent Capt. Jake Geismer (George Clooney), here to cover the Allied summit meeting at Potsdam -- and also to find his German pre-war lover Lena Brandt (Cate Blanchett). His driver, Patrick Tully (Tobey Maguire, in a clever bit of stunt-casting), is a sleazy black-marketeer, eager to grab the opportunities that only war can bring. Tully, it turns out, is also Lena's pimp -- she's a survivor now and will do whatever it takes to get out of Germany. Under the circumstances, Jake's reunion with Lena could hardly be a happy one.
The Noir kicks in when Jake finds Tully floating in the river with a bullet hole in his back and a hundred grand in occupation marks in his pocket. To Jake's consternation, both Russian & American authorities want this murder hushed-up. Soon he realizes everyone's looking for Lena, and out of loyalty (perhaps misplaced), he tries to help her. As we expect in the Noir world, no good deed goes unpunished.
Since this story depends on mystery, I really can't divulge more plot details. Soderbergh was clearly aiming for something like Carol Reed's "The Third Man" (1949). The difference is, of course, "The Third Man" is the Real Deal. If you've never seen it, why not just rent the Criterion DVD of that film?
"The Good German" has its moments, mainly due to Cate Blanchett channeling Dietrich & Garbo, complete with perfectly-lit cheekbones. George Clooney looks right at home, doing Bogart-lite and getting pummelled by thugs of various nationalities while trying to get to the bottom of things. Yeah, it gets pretty murky down there. We get a plethora of shady Russians, Germans, & Americans, but no one character stands out to personify evil like Orson Welles' Harry Lime (from The Third Man). There is, however, lots of archival newsreel footage from the period neatly integrated into the film, thanks to the authentic black-&-white format.
The film's biggest stumble is saved for last. I even heard audience members muttering about the ending, not a good sign. My guess is that Soderbergh meant to jar the viewer with an unmistakable reference to a film that epitomized the idealism that preceded Noir. Well, Steven, not every movie-goer is on that ironic postmodern wavelength. If the people don't get it, it doesn't matter how clever you think you are.
I give the film a mild recommendation for the curious Noir fans out there, and for those who cannot resist sordid tales of postwar corruption. But if you're looking for serious intrigue in the theatre these days, Robert De Niro's "The Good Shepherd" is a better bet.
Recommended:
Yes
Movie Mood: If Your First Choice is Sold Out
Viewing Method: Other
Film Completeness: Looked complete to me.
Worst Part of this Film: Script
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Epinions.com ID:
waynio
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Location: San Francisco, CA
Reviews written: 119
Trusted by: 50 members
About Me:
If you meet the Buddha on the road, have him call my agent.
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