This foreign film is so captivating, you will Never Look Away, even though it is subtitled and 3 hours long. The directing, acting and the cinematography of this complicated story are that compelling. There is not one wasted scene and no lag at all in the pacing. It is one of the exceptional foreign language films nominated for Academy Awards this year.
Director Florian Henckel von Donnersmarck (The Tourist) cast his leads, Sebastian Koch (Homeland TV series, The Danish Girl) as Professor Carl Seeband, and Tom Schilling (Woman in Gold) as Kurt Barnert, before he even started writing this film. The story is based loosely on the life of artist Gerhard Richter. It covers 30 years from his life as a boy observing the cruelty to his family as a boy in Nazi Germany through the quest to find his niche creating exciting contemporary art. Even more it is about his love story under unimaginably difficult circumstances until they finally defect to the West.
The love story in this film is paramount. The young artist falls in love with the evil Doctor Carl Seeband’s (Koch) daughter, but doesn’t know there is a terrible connection to his own family. His favorite Aunt Elisabeth (Saskia Rosendahl) was a victim of Nazi brutality shown with all the horror that exposes raw emotion. Paula Beer is exquisite (Transit) as Ellie, the young woman who wins Kurt’s (Schilling) heart. They are a perfect match on screen; convincing and emotionally involved. The images of their love and love making are truly beautiful and memorable. There is nudity, but it is shown with artistic purpose. It is graphic in many scenes, but in one, in particular, where he coaxes the shy Ellie to pose for a painting in the nude on top of a staircase positions her off center. The angle looking up at her combined with the lighting and their engaging interaction, make the scene.
The production design of this film reflects each time period in detail. Cinematographer, Caleb Deschanel (The Right Stuff, The Natural, Passion of the Christ, Patriot. Being There) made excellent use of it in every scene.
This is Deschanel’s 6th Oscar Nomination, but not his first for a foreign film. Deschanel claims you have to pay closer attention to the visuals when you don’t understand the language and it is subtitled. You have to focus more on the people and what they’re trying to say without words. Lighting and framing become even more important and it definitely shows in the detail he captures in this film. That includes the scenes of Schilling as Kurt painting as his style is evolving.
Director von Donnersmarck handles the complicated relationships of Ellie with her overbearing father and Kurt’s cautious attitude with his father-in-law and his cruel treatment of both of them very carefully. There is backstory to be revealed, but it’s dealt with delicately and mysteriously. Every reveal has a purpose which allows the story to unravel something more. The audience knows more than the players and you are just waiting for who is going to realize what, and when.
The Director enlisted the skill of a master for the music and score of this saga. Max Richter’s credits include (Mary Queen of Scotts, Hostiles, White Boy Rick, Arrival, J. Edgar, and Shutter Island). His flourishes at just the right times enhance dramatic moments without overpowering them.
This film is historical, artistic, dramatic, and very romantic. There are both light and very dark moments in this very complicated story, but it flows easily from one segment to another with beauty projected in every scene. We didn’t think we could see a 3 hour film in one sitting, but once we started, we never wanted to look away. You won’t want to either.
Sony Pictures Classics 189 minutes R
