Mephisto (1981)

A German stage actor finds unexpected success and mixed blessings in the popularity of his performance in a Faustian play as the Nazis take power in pre-WWII Germany. As his associates and friends flee or are ground under by the Nazi terror, the popularity of his character supersedes his own existence until he finds that his best performance is keeping up appearances for his Nazi patrons.If you want to win an Oscar, it never hurts to make a film about World War II, and especially if you throw the Holocaust in there. This film does not address the Holocaust, but does focus on a man in a very awkward position during the war -- does he flee or does he stay and accept the new way? Although not intentional (at least, not obviously so), it seems oddly like the story of Emil Jannings.

Much is said of Brandauer's performance here and it is an actor's performance par excellence: look at me, look at me, I am so good, and don't turn away, look at me again. In this respect he is like Robin Williams in one his manic performances which also craves attention and while Brandauer is a brilliant stage performer - the scenes of him on stage are amongst the best in the whole film - his stage-bound acting style in most of the rest of the film is like some psychopath with ADD.This gives the film problems because it fails to build empathy with his ordinary situation: how to deal with an evil government and have a conscience. This problem is compounded by the close up camera: we are always looking at his face in some unendurable clinch as he tries to kiss us and ask us how good he is again and again.The other weakness is the long build to the story. The film takes 40 minutes to become interesting; the preamble is just Brandauer's character being selfish and self-absorbed.

Having just sat down and watched this film and then having checked the reviews of post-viewing, I find it hard to believe I watched the same film. I was looking forward to see a dark parable on the cost of success and looking the other way, the hunger of adulation and success that an actor craves at any cost. I was however left feeling very under-whelmed at the end the picture. I don't want to destroy the film entirely, it's just that I feel in many regards it's not worthy of the level of brilliance and expectation that its reputation comes with.The lead character has little in the way of an arc and although I will agree that the lead performance is excellent, it's a shame there's so little for him to do. There is little character growth, he just seems to go through set scenes that are unfortunately predictable and without drive. Intellectual film watchers may watch this film and gaze in wonder at the parables and symbols in this film but I found them awkward and clumsy and the plot only half-explored, as if the director is afraid to create some sort of dramatic tension. Hendrik's affair and story with the black dancer in this film holds a lot of possibilities and could be used to investigate deeper motivations in Hendrik Hoefger and Nazi Germany at large, yet is brutally under-utilized and washes by seemingly without much of a thought.The problem I feel is that although it does tick many of the boxes for being a smart and intelligent film, it seems to tick these boxes so deliberately as to feel cold. Most of the time the film seems to run through a mental check-list of what respectable cinema should be and although, yes smarts in film is a good thing and should be brought to the table as much as possible, Mephisto seems to have forgotten to bring drive to the story and so it seems to drag out far longer than necessary. I really wish I could like this film but there's too much lacking for me, it just seems too pompous and convinced of its own self-worth for it's own good.

Klaus Maria Brandauer, the celebrated German stage actor, is not really a big fan of cinema. Largely unknown to cinematic audiences, he made a big splash with his debut Mephisto.Mephisto is the ancient legend of the man who sells his soul to the devil in return for worldly gains - as told by Faust. Klaus plays a Hamburg stage actor famous for his portrayal of Mephisto on stage. Flirting with socialism, he embraces the leadership of the Nazi party in order to move to Berlin and rise in the theatre hierarchy. He does rise and continues to ingratiate himself with the Nazi Generals and Prime Minister and rises to the very top where his full oratorical abilities can be displayed. He also shows a complete lack of self respect or conviction for anything but his personal worldly success and power - which he does use on occasion to save less favoured colleagues.Klaus has given a remarkable performance in this film - all physicality. Throughout much of the movie he is poker faced and relies on his hands and his body to express himself fully. Its a very unique, one-of-a-kind performance that makes this film so watchable. The narrative itself is chopped and may sub-plots are introduced then cut short.