The after effects of World War II come to light in the big-screen adaptation of Siegfried Lenz’s novel THE GERMAN LESSON.
In prison in the aftermath of the War, Siggi Jepsen (Tom Gronau) is finding it difficult to write an assignment ‘The Joy of Duty’ and is placed in solitary confinement under observation to see whether or not he can carry it out. The prison doctors determine that there were many images impacting on his ability to put pen to paper, but eventually Siggi begins to form past memories of his life as a child during the war years, when he lived with his family in a rural town and requests that he remain in his confinement to tell the story, principally to himself.
The memories begin to flood back during a time when his strict SS father, Jens Ole Jepsen (Ulrich Noethen) presided over the home, with wife Gudrun (Sonja Richter) and older brother Klaus (Louis Hofmann) – away fighting for ‘The Fatherland’ – and older sister Hilke (Maria Dragus).
Siggi takes solace in neighbouring godfather Max Ludwig Nansen (Tobias Moretti) and wife Ditte (Johanna Wokalek) and learns of Max’s passion for painting, although in this world the practice is forbidden in terms of what the law demands, a fact that Jens imposes on Siggi when he requests that he observe Max. However, Siggi is taking more than a passionate interest in the pictures, which are perceived as sick and evil, a conflict that is destined to affect all to a far greater degree….
Although this is yet another World War II-set drama, THE GERMAN LESSON certainly has a freshness to an oft-depicted period of history, thanks to the investment in the family drama and emotion that the film provides in a visual canvas reminiscent of DOWNFALL amongst others.
Surprisingly, the film-makers have opted for English Language to tell their story, which is nonetheless a virtue considering this is a very German-in-tone story from an acclaimed best seller and would probably fit in with the Merchant /Ivory classics from the past like THE REMAINS OF THE DAY.
Visually, the film is richly conceived, thanks to cinematographer Frank Lamm, who encapsulates variety in some memorable day and night sequences and framing that demands that this film be seen on the big-screen wherever possible.
