The Reader Review

Posted by Chad Webb on 12.20.2008

A mesmerizing tale of a strange relationship.

Kate Winslet: Hanna Schmitz
Ralph Fiennes: Michael Berg
David Kross: Young Michael Berg
Jeanette Hain: Brigitte
Rainer Sellien: Teacher
Susanne Lothar: Carla Berg
Alissa Wilms: Emily Berg
Florian Bartholomai: Thomas Berg
Friederike Brecht: Angela Berg
Matthias Habich: Peter Berg
Directed By: Stephen Daldry
Written By: David Hare
Release Date: December 10, 2008
Running Time: 123 minutes







Rated R for some scenes of sexuality and nudity.

Weakness is a human quality that comes in many forms. Most are obvious, or can be discerned quickly, while others are invisible even to the possessor. Admitting that a weakness has handicapped you in some way, been used against you, or prevented you from achieving a certain feat is not always easy, depending on what the flaw may be. Likewise, avoiding embarrassment and shame is crucial for the survival and sanity of many people. The Reader examines the collision of weakness and embarrassment, and what confronting them means in a controversial and confusing situation.

On the HBO series Extras, Kate Winslet played herself on the set of a Holocaust film. She talked humorously about how Nazi and Holocaust films, homosexuality, and mentally challenged roles usually get the attention of the Academy. Her line in the show: "We get it, it was grim.” Those aforementioned areas are certainly covered this movie season. One can't help but think of her exchange with Ricky Gervais as she assumes the part in The Reader, the new picture from Director Stephen Daldry that involves Nazi's. The point is this uncompromising and emotional rollercoaster ride extends way beyond the typical category of a "Nazi movie." It explores the heart and soul of individuals facing their limitations, and attempting to understand one of the worst tragedies in history.

The story, based upon the book by Bernhard Schlink, covers three fundamental time periods, all of which take place in Post-World War II Germany. It follows Michael Berg (David Kross/Ralph Fiennes), a young man who engaged in an affair with Hanna Schmitz (Kate Winslet), a woman twice his age. The two met because of Michael suffering from scarlet fever, and as Michael continued to pursue her, their unique relationship began, and lasted for only a summer, but certainly a memorable one. She disappears suddenly one day, and he is heartbroken. Years later Michael has grown into a law student. Along with some classmates, they travel to observe the Nazi war-crime trials. During this event, Michael encounters Hanna once more, but this time, she is a defendant in the courtroom. Her shocking past is revealed, and thus secrets about her time with Michael become clear.

Singing the praises of Kate Winslet requires literally no effort from the movie critic. She makes it easy. As Hanna Schmitz, she lets loose an unflinching, courageous, and hypnotizing portrayal of a Nazi yes, but one that works in mysterious ways. Winslet takes the time to understand and encapsulate every role she tackles. She supplies total assurance with specific analysis of body language, mannerisms, speech patterns, and other important physical facets. Her versatility, and the fervor with which she embraces that asset is extraordinary. What Winslet does is force the audience to become familiar with Hanna Schmitz before they are reminded of her past, and subsequently, the concluding portion will stir a variety of feelings.

David Kross had a near insurmountable task of looking, sounding, and moving like a young Ralph Fiennes, and holding his ground next to Kate Winslet. The 18 year old actor, who is relatively new to film in general, gives an absolutely astounding portrayal of a young man wrapped up in a crush that quickly became reality. He exposes the naivety and optimism for the age of Michael Berg, as well as the heart wrenching obstacle of coming to grips with the truth. Fiennes, although not a lead, matches Berg seamlessly, and is of course, marvelous. The casting department should award themselves with a pat on the back by pairing two people that more than pass as the young and older version of the same person.

Stephen Daldry’s bookend approach with the adult Michael Berg reflecting on his life compels the audience to be solely invested in the journey, not the destination, and in this particular story, that is important. The fates are not the priority; it is the affecting saga of the characters that needs attention. By illustrating a Nazi in this fashion, screenwriter David Hare and Director Stephen Daldry walk a fine line between cartoonish evil and overly compassionate. Hanna is an enigma, but contrast her unexplained qualities to that of how the world viewed the post-Holocaust era during the 50’s-70’s. It was a time of making sense of what exactly transpired at the concentration camps like Auschwitz. Michael’s maddeningly profound conflict with himself is written all over his face as he tours the camps, and avoids the courtroom proceedings. Should he protect her, or chastise her? The film paints a straightforward picture of Hanna, her actions, and the fact that they did not own her life.

Most critics expect standard themes, motives, and points of view concerning the subject matter of Nazi’s and the Holocaust, but Stephen Daldry elects for a graceful methodology. Perhaps an increased focus on the Holocaust and war-crimes would have pleased them more, but again, that event is not the core of The Reader. Addressing honesty and reconciliation is among the many matters at hand. It was ambitious of Daldry and company to steer through Hanna’s past with a steady pace, and not to stop and dwell on it futilely. Cinematographer Roger Deakins, a master at honing shadow and light, has ample room to flex his muscles. The entire crew is magnificent from the Production Design of Brigitte Broch to the dynamic score of Nico Muhly.

Stepping into the shoes of Michael Berg will not be easy for some, and I suppose that is one reason why not everyone reacts with positivity to The Reader. It delves into a deep personal dilemma and poses numerous thought-provoking questions which should arouse debate in an educational way. Grasping the complexity of the Holocaust, and the people who committed such treacherous acts is not always cut and dry, and that is what The Reader conveys with elegance surrounded by an adeptly positioned structure. While the immediate categorization of this picture says “prestige” film, it achieves near greatness in not completely aiming for it. The construction and refined filmmaking of Daldry communicate a different purpose, and this is a spectacular effort because of that.