'Amen' is a recent release examining the relationship between the Vatican and Nazi Germany. We follow Kurt Gerheim (an admirable performance by Ulrich Tukur), a perfectly Aryan, protestant SS-Officer who tries to speak out against Nazi attrocities, and Ricardo Fontana, a young catholic cleric (played to the utmost by the marvellous Matthieu Kassovitz) who joins him in his fight. Ricardo's dissolusionment in the Church (which acts more as an institution for self-preservation than for good in this film) leads him to irrational and useless acts which do not conflict with his morality, rather than to more useful acts which do. The interest lies with the deterioration of Ricardo's faith in the Church's moral station and that of Gerheim's faith in his fatherland. Both find solace in the hope that they will put an end to the holocaust.
This is noticeably a continental European film, with brilliant direction and dazzlingly good acting, more Gosford Park than Schindler's List in terms of pace. Indeed, this slow pace only highlights the frustration felt by the two main characters as they are continually beaten down by the well-meaning leaders of their Churches.
Frustration, interestingly, is the only lasting emotion inspired in the viewer. Dr Germaine Greer attributed this, wrongly, I believe, to the fact that the film "doesn't seem to go anywhere", highlighting the leitmotiv frame of a so-called 'goods' train on its way to an unseen destination as a representation of this lack of direction. I would venture to suggest, though, that a conclusion is precisely what the director, the justly renowned Costa Garvas, was trying to avoid - he does not straightjacket his characters plainly as either heroes or villains and the film closes with the issues of morality it has raised left open-ended. It is meant to be thought provoking, not moving; the viewer is meant to conclude for himself what was morally correct and what was not.
At the end of the film, I found myself wondering which of the characters was most right - for none, it would seem, have a sole handle on the moral high-ground and there are arguments that promote each character's actions over another's. Whatever way you see this film and whatever conclusion you draw, it is a production which will not let you sleep easy until you have been challenged on many issues of morality.
This is noticeably a continental European film, with brilliant direction and dazzlingly good acting, more Gosford Park than Schindler's List in terms of pace. Indeed, this slow pace only highlights the frustration felt by the two main characters as they are continually beaten down by the well-meaning leaders of their Churches.
Frustration, interestingly, is the only lasting emotion inspired in the viewer. Dr Germaine Greer attributed this, wrongly, I believe, to the fact that the film "doesn't seem to go anywhere", highlighting the leitmotiv frame of a so-called 'goods' train on its way to an unseen destination as a representation of this lack of direction. I would venture to suggest, though, that a conclusion is precisely what the director, the justly renowned Costa Garvas, was trying to avoid - he does not straightjacket his characters plainly as either heroes or villains and the film closes with the issues of morality it has raised left open-ended. It is meant to be thought provoking, not moving; the viewer is meant to conclude for himself what was morally correct and what was not.
At the end of the film, I found myself wondering which of the characters was most right - for none, it would seem, have a sole handle on the moral high-ground and there are arguments that promote each character's actions over another's. Whatever way you see this film and whatever conclusion you draw, it is a production which will not let you sleep easy until you have been challenged on many issues of morality.
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