★★ / ★★★★
Dr. John Halder (Viggo Mortensen), Professor of Literature, was invited by the Nazis to write a paper for them about the ethics and humanity of euthanasia not because he had the proper medical background but because they were impressed with his novel which was based on fiction. Because he wanted to advance his career, he accepted an invitation to become an honorary member of the Nazi party despite the fact that he didn’t believe in their ideals. This caused great tension between the professor and his Jewish friend (Jason Isaacs) who became increasingly desperate to leave the country. Mortensen did a wonderful job portraying a complete coward of a man. He was a classic case of a weak boy so seduced by power, he was willing to change everything he stood for just so he could have a taste of it. I detested his choices. He abandoned his wife (Anastasia Hille) and children for one of his students (Jodie Whittaker), irresponsibly left his mother–who everyone thought was suffering from tuberculosis at the time because Alzheimer’s disease wasn’t yet understood–to live by herself, and lacked a sense of loyalty toward his closest friend. I didn’t necessarily detest the man but I wanted to shake some sense into him. However, I wish C.P. Taylor and John Wrathall, the writers, made a clearer case as to why this man’s story had to be told. Vicente Amorim, the director, wasn’t given much to work with; he certainly tried to paint a portrait of a very confused and misguided man, but his attempt didn’t quite capture the reason what made this man’s story so special. Yes, in crucial times of war, people were often driven to do things they wouldn’t normally do, but I couldn’t help but feel like that should only be the surface. There was a redemption arc toward the end but it felt forced and borderline preachy. As Halder became a bigger part of the Nazi party, he began to have auditory and visual hallucinations about people singing to him. It was a symbol of his guilt, maybe byproducts of the warring levels of his psyche. I wouldn’t have a problem with it if the hallucinations didn’t arrive at the most inopportune times. They broke the tension instead of helping to increase its momentum. “Good” did not need to have a character we could necessarily root for because I knew the filmmakers wanted to create a cautionary tale. A character could be morally compromised yet we could still learn from his or her mistakes. But it needed to have a defined core as to what made Halder’s story unique. Good acting and direction is for naught if basic building blocks are missing. Taylor and Wrathall’s work may have worked as a play but its full power failed to translate on screen.