Based off the original 1929 German novel, and a remake of the 1930 Best Picture winner, this German production by Edward Berger was a terrifying, brutal and visceral depiction of the futility of war that may have been the most immersive war movie since “Saving Private Ryan” and really ought to be screened in cinemas. Not only for the epic and distressing battle scenes but also to fully appreciate the stark beauty of James Friend’s cinematography that punctuated the film and the ominous dread of Volker Bertelmann’s score.
At almost 2.5 hours long, Berger’s film was well paced as it negotiated the final months and days of the war, juxtaposing the tragic ignominy and brutal horror with the youthful optimism and idealism. The stark contrast really drove home the underlying anti-war message especially as Berger also highlighted the parallel storylines of diplomats/politicians trying to negotiate an armistice in the comfort of their fineries and the generals and military leaders in their literal high towers pursuing their “false pride” and oblivious to the morality of their vainglorious decisions.
Superbly acted by newcomer Felix Kammerer as we followed his journey, experiencing both his horrors and the occasional joy amidst the camaraderie of his childhood friends and found family. Especially in that final long epilogue, the feeling of dread and possible inevitability was expertly stretched out and teased by Berger and performed by Kammerer.
Experienced actors Albrecht Schuch and Daniel Brühl buttressed the rest of the lesser known cast and their presence and performance were assured and helped to inform the emotional truth of war.
A definite Best International Feature Film Oscar nominee and also a possible front runner given its many below-the-line standouts: sound, editing, music, cinematography, hair and makeup, and costume.
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