2006 Directed by Steven Soderbergh
An American journalist arrives in Berlin just after the end of World War Two. He becomes involved in a murder mystery surrounding a dead GI who washes up at a lakeside mansion during the Potsdam negotiations between the Allied powers. Soon his investigation connects with his search for his married pre-war German lover.
George Clooney Cate Blanchett Tobey Maguire Beau Bridges Tony Curran Leland Orser Jack Thompson Robin Weigert Ravil Isyanov Christian Oliver Dave Power Don Pugsley Dominic Comperatore John Roeder J. Paul Boehmer Igor Korosec Boris Kievsky Vladimir Kulikov Yevgeniy Narovlyanskiy Aleksandr Sountsov Dean Misch Justin Misch Tom Cummins Brandon Keener Gian Franco Tordi David Willis Alexandra Carter Paul Edney Megan Evanich Show All…
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USAR
American Cinemateque
USAR
USAR
France
Germany12
AustraliaMA15+
UK15
Netherlands12
Ireland15A
Netherlands12
Netherlands12
Australia
France
Germany
Ireland
Netherlands
UK
USA
Similar to what Quentin Tarantino accomplished in Death Proof (2007), slyly delivering a quintessential Tarantino talkathon under the guise of an homage to exploitation film sub-genres not known for their textual prowess, Steven Soderbergh remains true to himself in The Good German, a stylized tribute to postwar noir in which style more or less serves as window dressing. His typically smart, dispassionate, probing film goes to places its predecessors, for a variety of reasons, could not, and doles out the kinds of cold, hard facts that were not an option for classical-era filmmakers. Basically, like Tarantino, Soderbergh’s made a movie that “they don’t make anymore” in a way that “they” never really made it in the first place.
Play it again, Steven...
Just as David Fincher attempted with Mank, Soderbergh takes an original story here, but his eyes are firmly fixed on another 1940's classic.
But unlike Fincher's film, this movie steps out of the shadows of the great film and becomes something of it's own that is gripping in it's own right.
It works because the film is split into three parts with a coda at the end. The opening act is playing up to references of the past but it also feels like a modern picture. It goes out of it's way to betray the sensibilities of the style of the Golden Age of Hollywood, such as the overuse of swearing - the 'C' word seems…
bleary, pale and facile imitation of the noir genre. a little bit of dry humor doesn't get you through the sterile tediousness of this rehashed epoch fragment.
In another bizarre career move from Steven Soderbergh, we have a hugely committed pastiche. Everything about the technical craft here is sublime. It feels just like a post war noir, with every detail exactly right, down to the lens choices and lighting technology.
The attention to detail is astonishing, even the acting modelled around aping the style that was. The purpose of this is interesting, to use the clothing of the familiar post war noir in order to tell the story those films never could. The specific use of violence, sex and swearing evoking a harsh reality that cuts interestingly against the presentation. It is one of those great cinematic metaphors where the craft and its subversion allow it to…
On second viewing, the film came together even stronger for me, and I wondered even more why people so thoroughly rejected this movie (mainly by calling it "style over substance", which is bullshit, because the substance, and there's plenty of it, needs the style to sting like it does). It's as if Soderbergh knew people would dismiss a precise noir pastiche as self-indulgent wankery ahead of the time, so he decided to make it the most scathing condemnation of American actions during and after World War II possible to see if anyone would pay attention to it (they didn't, evidently).
A neat exercise about digging deep into the aesthetics and moral politics of 1940s films that was probably a smokescreen for Soderbergh to make something that looks like A FOREIGN AFFAIR, but now, the characters can say "Fuck".
boring, it looks like a cheap copy of casablanca to me. why do modernist directors think they have the right to try and recreate established noir films? like, it doesn't work with you!
The style is visual feast but the substance is mush.
It’s unfortunate because Soderbergh does a fantastic job of mimicking noir in its heyday. The shot composition, lighting design and performance style are right in line. But the script sinks it all like a bag of bricks on its path to greatness.
There is ample talent in front of the camera here. Clooney is charming enough. and this high contrast lighting is the stuff Blanchett was made for (see Nightmare Alley). She absolutely dazzles. However, neither of their characters are allowed to blossom into anything interesting. It was also almost comical to see Tobey Maguire attempt to hold the screen next to Cate Blanchett—there just isn’t a chance in hell. Sorry guy!
With everything the film has going for it I was really amped to be along for the ride. Sadly it felt more like I was limping to the finish line by the end of things.
In The Good German, Soderbergh shows us a glimpse of what a classic, world war II era noir might have looked like if the Hayes office hadn't been around to enforce their puritanical code on the American film industry.
The good German doesn't only emulate the visual style of the 40s, but also the old timey tone shifts that one doesn't see much any more. Admittedly, the range of tone clashes, at times, especially when juxtaposed to some of the more modern elements that the afore mentioned Hayes code would have censored.
Still, this ambitious experiment succeeds more than it fails. The tropes of classic American cinema are surprisingly well integrated into a narrative that is able to focus on…
Casablanca In 2000s
Sepertinya Efek dari Keseringan menonton film-film jadul,Dengan latarnya yang Hitam putih layaknya Film Jadul pada umunya dan ya sepertinya saya menyukai film ini. George Clooney Tampil dengan Pesonanya Yang cemerlang dibarengi dengan Cate Blanchett Yang juga tampil dengan sangat Brilliant. Keduanya memberikan peforma yang memukau Disini. Scorenya Juga Bagus Banget ditambah Dengan Cinematographynya Yang Diambil dengan sangat Terampil. Film ini memang mengambil tema Perang dunia Ke dua seperti Film Casablanca pada tahun 1942,dan sepertinya film ini terinspirasi dari film tersebut. Akan tetapi yang agak saya sayangkan ialah dialognya ala Tahun 2000s akan lebih bagus lagi jika Dialognya Itu menggunakan Dialog orang2 tahun 1940an atau dialog Film2 jaman dulu pada umumnya.
When you're a big fan of a certain director's work, it pains you when one of their films doesn't quite work for you. I've thoroughly enjoyed every film I've seen from Steven Soderbergh with the exception of two, this one and The Girlfriend Experience, so in an effort to reassess it it got a rewatch.
The Good German must be considered one of Steven Soderbergh's least successful films. A box office flop, not always a bad sign, but certainly on this occasion a distinct hint as to the reaction the public had to a black and white noir set in Berlin at the tail end of WWII. Even with the pulling power of George Clooney and the stunning Cate Blanchett,…
I was interested in seeing this film because I really like modern day film noirs and Steven Soderbergh has always been an interesting director for me.
The film, adapted from the novel of the same name, follows American journalist Jake Geismer (George Clooney) as he unravels a mystery involving his ex lover (Cate Blanchett) and her new boyfriend Tully (Tobey Maguire) in post war Berlin.
The premise is genuinely intriguing but the writing left me feeling disappointed. Firstly, the story is needlessly complicated and could have done with a bit of trimming of scenes. Characters are written well, especially Jake. The ending was obvious from the first ten minutes and dragged out more than it should have been.
Despite the…
