Pretty Darn Good German

One thing becomes evident almost instantly while watching The Good German: Steven Soderbergh REALLY loves Casablanca. The look, the sound, the poster, the ending and a lot of the plot elements mirror the 1942 classic and, while its nowhere near as memorable as that film (how could it be?), it makes for some favorable comparisons..

Shot in black & white and using vintage cameras, The Good German emulates the films of the time in which it takes place: WWII era Berlin, post-surrender/pre-Potsdam Conference. It’s a daring visual experiment that captures the viewer’s attention for the course of the film, the homage never stepping into gimmick territory. It would be a shame to not mention Thomas Newman’s Oscar nominated score which is as good as anything produced in the early days of cinema and helps sell the movie’s old fashioned conceit.

The plot itself twists and turns with the motives and morals of its characters. George Clooney, in a role that showcases his timeless movie star charisma, plays an American journalist that gets entangled with a mystery after discovering that his assigned motor pool driver (Tobey Maguire) is romantically involved with his former mistress (Cate Blanchett, lit like she was born to be filmed in black and white). Torn between conflicting Russian and America agendas, Clooney’s character soon learns that morality in the world following the fall of Berlin is as grey as the film’s color palette.

I remain purposefully vague in the plot details as to not spoil any of the film’s surprises, which are numerous. The plot is complex and not for casual viewing, but even those who lose the plot halfway in may still find themselves in the film’s grip. The Good German is not quite guilty of style over substance (I can’t in good conscience brand a film with a story so intricate and so much to say with that distinction), but the success of its visual/audible elements ultimately overshadows what is still an above-average noir tale.

9/10