GOOD

UK/Germany, 2008, 96 minutes, Colour.
Viggo Mortensen, Jason Isaacs, Jodie Whitaker, Mark Strong, Gemma Jones.
Directed by Victor Amorim.

This is a film one would like to praise more than one can. It is worth seeing because of its themes: the ordinary, 'good' German who is anti-Nazi in principle, who has a literary and cultured background but who, thinking that Hitler cannot last, is more compliant than he realises, gradually succumbing to invitations to join the party, susceptible to flattery and finishing as a 'consultor' SS official, though he prefers to be called professor. Seemingly small concessions and decisions that have momentous consequences does make the final sequence of the film even more devastating.

However, there is something not quite affecting in the treatment of the theme. Perhaps it is the theatrical origins in C.P.Taylor's play. Perhaps there is a staginess or some artificiality about the attempts at a realistic, even naturalistic setting. The same is true of many of the performances. The touch of magic realism where the professor hears music and sees groups singing when he faces some crisis is actually well done and acceptable.

The settings and the re-creation of Nazi Germany (in Hungary) are effective. The increasing persecution of the Jews pervades the latter part of the film, culminating in riots, arrests and trucks taking Jews away to the camps. This contrasts with the glimpse of a film being made of the professor's book, and his being congratulated by Goebbels, elegant Nazi parties, home dinners and the generally calm, even civilised manner of the Nazi characters despite their actions (with a principally British cast).

At the centre is Viggo Mortensen's quite different performances from, say, Eastern Promises or The Lord of the Rings. He is reticent, awkward, bookish, despite his serving in World War I. His marriage is strained. He cares for his mentally disturbed mother. He succumbs to the very Aryan student who makes a play for him. He supports, then abandons, then tries to help his Jewish friend, a psychiatrist played by Jason Isaacs. Mark Strong is always good and is a Chancery adviser. Gemma Jones is the mother.

The film is worthy. Sometimes we might feel we are observing from outside and then are drawn into the film emotionally even while there are more abstract discussions about life, euthanasia, mental disability as well as the destruction of human rights and dignity. However, the climax in the concentration camp with the prisoner band playing, the haggard workers walking by and the children and women moving towards the furnaces is striking and shocking.

1.Nazi and Holocaust issues? In the 20th century? The memory of the 21st century? Salutary warnings?

2.The title, human nature and people being good, good people and morality, norms of morality, their affecting or not affecting people on the margins of politics, issues of society? Making concessions for their own good, the consequences? Drawing them into involvement? Issues of conscience? Friendships, betrayal, complicity?

3.The re-creation of the period, 1930s Germany, Berlin, the university, homes, the chancery? The sets for the film studios? Authentic? The musical score?

4.The climax in the concentration camp, the picture of the prisoners, emaciated, the men in lines, the buildings, the women and children going towards the ovens? The smoke? The orchestra of prisoners playing? John standing in the middle of it? The audience immersed in it – and the film ending?

5.The structure, a play, the three acts? The times, the dialogue, dramatic? The play opened out?

6.1937, John as professor, ordered to the chancery, the interview, his book, the issue of mercy killing? His being requested to write the paper, Hitler taking an interest in his writings, his consent?

7.1933, John’s memories, the lectures, on Proust, the semi-interested students, the burning of the books? The students watching? The professor and his asking John not to teach Proust? Political difficulties? The influence of John’s father-in-law? Joining the Nazi party or not? Hitler just becoming chancellor? Anna at the lectures? Her wanting to discuss her thesis? John’s relationship with Helen, tense, her playing the piano? Cooking, the meals, the children? His mother, coming out of the institution, her being demanding?

8.Anna, her approach, seductive? Symbolic of John’s flirtation with the Nazis, then his commitment? Their meetings, talk, the lies? Her coming to his house, wet, staying the night, John’s explanations to Helen? His infidelity, feeling spontaneous, the change, confiding in Maurice?

9.Maurice, the psychiatrist, his friend, their having served in World War One, the trenches? Maurice and his prurience? Asking questions? The Jewish background?

10.Anna, her studies, her ideas, setting herself on John, the visits, talking, staying overnight, the separation from his wife, John marrying her?

11.John, the background of the war, with Maurice? Stiff and academic, the effect of marriage and children? The separation? His visits, the children’s pride in him, Helen at peace? His father-in-law at the social and his disdain?

12.John, the invitation to be associated with the SS, the promotion, the uniform, the title, his preferring Professor?

13.The Nazi official, the interrogation, meeting John and becoming friends? Their discussions, Nazi pride, socialising and parties, the ideology, John and his trying to buy the ticket to Paris for Maurice, the official finding him, bringing him to the top of the line, privilege? The meal with the husbands and wives, the news about the assassination attempt in Paris, being called in, the riots and the smashing of the Jewish quarters, the arrests?

14.Maurice and the persecution of the Jews, losing his rights? Losing his job? His apartment being sealed and signed? His coming to John, begging him to get the ticket? John and his finally taking the official’s pass, buying the ticket, using his power and threatening the man at the ticket box? Anna to help Maurice, the years later discovery that she had betrayed him?

15.The night of the persecution of the Jews, the riots, the smashing of the shops, John wearing his uniform, the orders, the Jews in the trucks, his looking for Maurice, helping the man to escape?

16.His going to the film set, the film of his book, with Anna, Goebbels and his arrival, the commendation, the praise from the Fuhrer?

17.The transition to 1942, John and his authority in the party, the SS, going to inspect hospitals, the Down Syndrome adults? The viewpoints of the doctors?

18.The archives, the pride of having everybody registered, his deciding to do the test, looking for Maurice’s name, finding where he was sent?

19.John’s mother, mental condition, demands, whining, her behaviour, blunt talk about his separation, wanting to be left alone, moving to her house, the pills, wanting to die, her death and its effect on John? The reality of ideas of illness, mercy killing?

20.His being an inspector at the camps, talking with the official, the bureaucracy, not being able to find Maurice’s name, the thousands of prisoners, watching the prisoners, thinking he saw Maurice? The orchestra, his being aghast, a good man who had become complicit standing in the middle of the consequences?

21.The inaction of good people contributing to the spread of evil?