Movie Review: The Good German

By Anne Brodie Dec 14, 2006, 10:59 GMT

Adapted from Joseph Kanon\'s book. The Good German takes place in the ruins of post-WWII Berlin, where U.S. Army war correspondent Jake Geismar (George Clooney) becomes embroiled with Lena Brandt (Cate Blanchett), a former lover who is trying to escape her past in the aftermath of the war.  Intrigue mounts as Jake tries to uncover the secrets Lena may be hiding in her desperation to get out of Berlin.  Tully (Tobey ...more

The Good German is set during the volatile post World War 2 era. It is black and white, inter-cutting new footage with newsreel footage from the time of Germany’s collapse.  Berlin is in shambles, piles of bricks are everywhere and there seems to be no possibility of a future.

It’s a strange sensation watching Tobey Maguire and George Clooney rumbling down the ruined streets of Berlin in an old army truck, with actual 40’s Berlin in the background.

However, the old-fashioned look is somehow wrong in later sequences, and there is a strong sense that the director is going for style over substance.

Clooney is a Jake Geismer, a world-weary American journalist, on the trail of a hot story on international corruption. The American army has asked him to wear a military uniform. The Russian, British, German and American factions sharing Berlin know who he is from his previous life there, and his troublemaking reputation.

Cate Blanchett, a mysterious woman named Leena, who coincidentally is his former lover appears out of the black and white mists and then disappears. She seems to shake with unknown fear. Her husband, who had a sensitive and secret government job, is presumed murdered.

Geismer’s efforts to uncover and report on war crimes and corruption are blocked by shady American military officials. They apparently want the murdered man’s body as proof of his death, and his secret papers.

The Russians are looking for the man too. Its a dangerous time, just as Churchill, Truman and Stalin are gathering at Potsdam, Germany, Their purpose is to carve up vanquished Germany and build a new Europe. Meanwhile, the war in Japan continues unabated by the end of the war in Europe.

Whatever ties or loyalties Geismer had are long gone. He is in Berlin, much to his regret, for the story – and for his onetime lover.

Soderbergh seems to be counting on the nostalgia value of the film’s subject matter and look. He goes overboard, recreating the final scene of Casablanca, which does not work. His film is nowhere near as artistic, interesting or iconic as Casablanca. 

It wants to be romantic and edgy, as we know films of that time to be. But there is a cold, inhuman vibe which is unfortunately set off by the ham handed misuse of black and white. 

Black and white is an art form and Soderbergh and his cinematographer have wasted it.

The film disappoints on many levels, considering the cast, ambitious story and the potential for black and white authenticity and nuance.

The standout is Cate Blanchett as an empty souled prostitute.

Once the toast of Berlin’s Nazi circle, she is reduced to street level and starving. But, like a cockroach, she survives. Blanchett gives her that smoldering seductive face and a backbone to match any war criminal.

Directed by Steve Soderbergh

Written by Paul Attanasio and Joseph Kanon

Runtime: 107 minutes

Opens limited USA Dec 15 – wide Dec 22. MPAA: Rated R for language, violence and some sexual content.