The Man with the Iron Heart (2017)

Great film.. story tochEd my heart....AFTER ALL IT IS BASED ON A TRUE STORY

While the story of the assassination of Heydrich in Prague during World War II has been told in other movies up to the point that it invokes a sense of déjà vu this installment can be praised alone for it's grand opening scene with the solemn organ music. This movie sets itself apart from the rest by also showing it from the perspective of the German side and Heydrich' s wife played brilliantly by Rosamund Pike whose beauty you may admire all the same as you will loathe her beliefs. The atmosphere of an occupied city, as far as you can gauge from a free perspective seems authentic. The ruthlessness of Heydrich and the whole Nazi war machine should serve as a reminder of what will be the ultimate consequence of intolerance and blatant racism. The story will always remain captivating for its combination of heroism and tragedy, romance, heartbreak and betrayal even if we suspect that the romance has been emphasized for dramatic purposes. As far as historic accuracy can be trusted we learn that Heydrich's rise in the SS followed a disgraceful discharge from the German navy, together with some scene involving an officer of the Wehrmacht it supports the irritating idea that it was only the Nazi's and the SS that were the true fiends as if not the whole of Germany stood with their arms stretched. Nevertheless I enjoyed this movie quite much for it's raw approach to life and war, if you get to choose a version of the story told so often, this is a good one.

The fact that every person in this movie (Tsjech, German) speaks English among each other already bothered me from the very start of this movie.Other then that the story is a very cheap one, the first focus of the movie is to show how bad Heydrich was and the second focus of the story is on 2 befriended resistance fighters.Also none of the characters ever get interesting.

"HHhH" ("The Man with the Iron Heart") is a decent historical war drama. It scores high marks for authenticity regarding locations, costumes, mores and props; however, with the exception of a few bare breasts, feels like a television movie. Although several thousand people are brutally murdered, the violence feels antiseptic, with a few spurts of blood and red stains on costumes, but no sense of either physical or emotional trauma. The nearly universal use of jiggly-cam shots serves as a constant distracting reminder that somebody is holding a camera, preventing the audience from ever fully suspending disbelief. Performances are good, but seem repressed, even when Reinhard tears up a room in frustration. At the end, the viewer is left wondering what it all means. Tremendous risks were taken, resulting in terrible consequences. The filmmakers offer no interpretation or moral and insufficient perspective for the audience to make their own judgment.