"El amigo alemán" or "Der deutsche Freund" or "The German Friend" is a co-production between Argentina and Germany from 2012, so this one has its 5th anniversary this year. It is a mix of Spanish and German language and this also becomes visible in the cast. German film buffs like myself will certainly have heard of the names Sadler and Riemelt, while Spanish movie lovers will probably recognize Celeste Cid. As for the story, this is another film about Nazi Germany, well partially. The roots of the characters are there, but the time depicted in here is already a decade later (when they were kids) and even much later when they are grown-ups. It is basically about the connection / love story between Riemelt's and Cid's character from start to finish during these 100 minutes. Unfortunately, in my opinion this film never really makes a difference in terms of either the romance or the political component that makes it really stand out of the gray mass of films that deal with a similar political background, even if admittedly not too many of them are set in Argentina. Then again, this one isn't really either as the grown-up part plays in Germany again and the new political climate with left wing terrorism in the 1970s plays a major part as well. maybe this film just tried to be too much for a film of slightly over 90 minutes, but still I must say there was not one moment, one character or one performance that stood out here. I give it a thumbs-down and I cannot say I am too sad that Argentinian/German writer and director Jeanine Meerapfel has not yet made a new movie since the five years when this came out. The film bubbles along in a mostly forgettable way and even if it is not a failure, it is still a missed opportunity. I suggest you watch something else instead.
3 Reviews
30 years of Argentine history
hof-412 October 2017
The story covers the relationship of Sulamit, daughter of German Jewish parents that found refuge in Argentina before WWII and Friedrich, son of an unrepentant ex-SS officer emigrated to Argentina under false identity after the war. Both Sulamit and Friedrich were born in Argentina, and in the mid 1950s live in rather similar houses across the street in a suburb of Buenos Aires. Their friendship and subsequent liaison continues for many years in Argentina and Germany. Director Jeanine Meerapfel's family background is similar to that of Sulamit, thus we may assume there are autobiographic elements here.
The film touches upon many subjects and questions. Some of them pertain to the main characters' interaction, for instance: what role should family's past play in one's life? (some of Shulamit's relatives perished in the Holocaust, Friedrich's father is probably guilty of war crimes). Other, more general subjects are the unwillingness of German postwar governments to deal with Nazis, the hopes raised by Salvador Allende's win in the Chilean presidential elections in 1970 (dashed by his overthrow and murder by the Chilean military in 1973), and the hopelessness of armed resistance to the 1976-1983 military dictatorship in Argentina. Some of the references, such as the failed military coup of June 1955, writer Jorge Luis Borges' fondness for military dictatorships or a particular antisemitic incident that followed the abduction of Adolf Eichmann in 1960 by Israeli agents need knowledge of recent Argentine history.
What makes this film so good is the placement of a personal story (told without undue sentimentality) in a precise historical context, that of Argentina in the period 1955-1985. Having lived in Argentina during much of that time, each reference was familiar to me (for instance, the white smock that Sulamit wears in school or the song she and her classmates sing at the ceremony of raising of the flag before the beginning of classes). Meerapfel's direction is fluid, and her script is flawless; every character's lines ring true. Acting and cinematography are also excellent. A must see.
The film touches upon many subjects and questions. Some of them pertain to the main characters' interaction, for instance: what role should family's past play in one's life? (some of Shulamit's relatives perished in the Holocaust, Friedrich's father is probably guilty of war crimes). Other, more general subjects are the unwillingness of German postwar governments to deal with Nazis, the hopes raised by Salvador Allende's win in the Chilean presidential elections in 1970 (dashed by his overthrow and murder by the Chilean military in 1973), and the hopelessness of armed resistance to the 1976-1983 military dictatorship in Argentina. Some of the references, such as the failed military coup of June 1955, writer Jorge Luis Borges' fondness for military dictatorships or a particular antisemitic incident that followed the abduction of Adolf Eichmann in 1960 by Israeli agents need knowledge of recent Argentine history.
What makes this film so good is the placement of a personal story (told without undue sentimentality) in a precise historical context, that of Argentina in the period 1955-1985. Having lived in Argentina during much of that time, each reference was familiar to me (for instance, the white smock that Sulamit wears in school or the song she and her classmates sing at the ceremony of raising of the flag before the beginning of classes). Meerapfel's direction is fluid, and her script is flawless; every character's lines ring true. Acting and cinematography are also excellent. A must see.
A work of art
fusioonspa11 August 2019
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