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Mephisto

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Hungarian director Istvan Szabo's tale of Klaus Maria Brandauer as an actor in Nazi Germany reminded me of the problem posed by Burt Lancaster in Judgment at Nuremburg. As a German lawyer indicted for enforcing Nazi ideology, he asked whether it was more moral to have fled the country the way others did in disgust, or to stay and try and moderate in a kind of passive protest. Brandauer faces the same dilema, though his predicament is given the added irony of him being an actor, a person assumed to lack an identity. However Szabo doesn't demonize the character, which may have something to do with Szabo continuing to make movies in Hungary after the Russians invaded, as evidence of the adjustment of the working artist. We may think that Mephisto's decision to stay on is ill-advised since we know the Nazis to be fickle in their allegiance, but we don't admonish him for being an opportunist. And Brandauer lets us see this actor is more than just a performer, and particularly in one close-up where his contempt for the Nazi Prime Minister is hidden behind the mask of host. The material is taken from the novel by Klaus Mann, the son of Thomas Mann, and allegedly based on the marriage of Erika Mann (Klaus' sister) to the actor Gustav Grundgens, who appeared in Fritz Lang's M and toured Faust internationally after the war. As metaphor the Faust legend is apt, with a man who sells his soul to the devil, though the Hamlet analogy also used with Brandauer as the Nazi's Hamlet is less successful. Szabo creates an hypnotic mood of continuous dread. We are in constant fear for what will become of Mephisto, especially when he tries to protect friends, and of the horror of the Nazi's represented by the Goring-like Prime Minister. His fatness suggests both an over-ripe sensuality and a barbaric ignorance. At one point he even says "When I hear the word culture I reach for my revolver". Szabo gets a laugh from a montage of Brandaeur's entrances in various theatre roles, after he closes a curtain from an argument, and Brandaeur himself gets us on side with his first appearance howling in a jealous tantrum backstage. It is rumoured that Grundgens was a homosexual, who also had a relationship with Klaus Mann, and while Brandaeur doesn't make this overt, his fay dancing and the platonic marriages he enters into may reveal subtext.

"Mephisto" carries a big message about integrity and betrayal. Its central character is a conflicted man who plays Mephistopheles on the stage, while offstage trading his own soul to the Nazis for fame and influence.

There is a fascinating background to the film, and to the 1936 Klaus Mann novel of the same title. It's often pointed out that the main character Hoefgen is a portrait of the actor Gustav Grundgens, who was married to Klaus Mann's sister Erika in the 1920's. Another literary connection: W. H. Auden later assisted Erika's escape from Germany by means of a marriage of convenience.

In the film, the devilish Hoefgen marries an angelic Erika figure and there is an amusing scene in "heaven" at the Mann family home where he chokes on the food served. Interestingly, one of the more admirable characters is a sometime Nazi whose courage is a foil to Hoefgen's compromises. There are persuasively menacing analogues of Hermann Goering and Josef Goebbels.

Klaus Maria Brandauer does a virtuoso job acting as the actor Hoefgen. Yet another layer of meaning is added to this complex movie by the fact that its director Szabo was from Communist Hungary, where artists faced their own choices about whether and how to collaborate with authority. Check out the scene where Hoefgen interprets Hamlet to journalists as a National Socialist hero.

Klaus Mann fled Germany before WWII and killed himself in France in 1949, while Grundgens had a notably successful career in the Third Reich and afterward. His Dusseldorf theater made a fine recording of Faust 1 for Deutsche Grammophon in the early 1950's. (It's now out on CD from DG Literatur, available from amazon.de.) Grundgens naturally plays Mephisto.

Note: German with English subtitles.

Winner of the '82 Oscar in the category of Best Foreign Film, `Mephisto' provides a fascinating glimpse behind the most notorious regime of the 20th century and the elusive spiritual force that energized its rise to power. Klaus Maria Brandauer is brilliant in the role of Hendrik Hofgen, struggling actor in Berlin circa 1930's whose ability to rationalize and dismiss the growing evil of the Nazi party eventually becomes the embodiment of the dictatorship on stage personified in the figure of Mephisto, "The spirit who negates."

Writer and director Istvan Szabo has successfully created a unique atmosphere in this production. It is a play within a play, an extravagant distraction of clever words, color and costume designed to enthrall the audience within the theater while malignant socio-political forces move into positions of power and influence in the world outside.

The viewer is slowly but surely drawn into the inner world of Hendrik Hofgen. As the film progresses one becomes aware of the myriad of layers to Hendrik's persona and eventually you will begin to peel away the various masks he so ingeniously hides behind. While his onstage performances as Mephisto are dramatic and powerful the essence of the Mephistophelian mythos is lived out off stage away from the bright lights. The manner in which he refuses to acknowledge the devastating and threatening effects of Nazism on Germany, along with the mental machinations employed by the deluded artist to justify his choice to stay in the Motherland are all a reflection of a spirit evil he has so unwittingly embraced.

Great film! Definitely -5 Stars-!

Mephisto is a brilliant film. Klaus Maria Brandauer is possibly one of the greatest living actors today and this is probably his key role. It is based on a novel written by Klaus Mann (son of the famous German author Thomas Mann), which is loosely based upon the real-life story of Klaus's actual brother in law, famous German actor Gustaf Grundgens. (Grundgrens is mostly known to us for his role as the criminal-organization leader in Fritz Lang's "M").
Isvan Szabo directs this stirring character-study with depth and sincerity, asking us to question: "If a particular culture is guilty of crimes against humanity, is it's art also guilty?". The viewer is left to decide for themselves, but the ride is well worth it in the end.
This is the story of a man who must decide whether to do what he thinks is right, or what is in his best interest. I also get the feeling that this character just hates change and would do just about anything, and sacrifice anything, to maintain as much of the status quo as he could in a world that insists that all of its members change radically or be eradicated.

This film is one of rich colors and sensual decadence. The exact opposite of Bresson it seems. One thing I find ironic about this film, which i think is the greatest German language film ever made, is that the director himself is Hungarian and Brandauer, who gives a great performance, is from Austria. But by being a film made by a non-German as it is we can have a much more frank view of Nazism and how it evolved into a cancer of callous brutality, so well represented by the corpulent Goering figure that both patronizes and and spiritually sodomizes Branduaer's character. This looks at Nazism as gangsterism, which it very much was in its early years, yet Szabo skillfully conveys what an even greater horror this movement will evolve into by 1939. At a closer level it is also a veiled criticism of the Communist regimes in eastern europe. Both regimes imposed their own nationalist art on their societies and excluded outside influence, they became closed self serving societies with no interest in cooperation and openess. Yet the Nazism in this film is seen as they greatest evil ever to plauge europe in this century. lets hope nothing like nazism ever happens again.

Klaus Mann's Mephisto (Penguin Twentieth Century Classics) is based loosely on the legend of Mephistopheles and Doctor Faustus. Only in Mann's version, the characters are members of his family. Enter Hendrik Hoefgen (or Klaus Mann's brother-in-law Gustaf Gründgens star of M - Criterion Collection) alias Faust/Mephisto played by Klaus Maria Brandauer.

Adapted by Hungarian director Istvan Szabo in this 1981 film rendition, Hendrik Hoefgen is a provincial actor from Hamburg who arrives in Berlin during the Nazi regime's ascendancy, determined to become the greatest thespian in Germany.

As his reputation grows, a Hermann Göring-type minister (Rolf Hoppe) takes notice of his performance as Mephisto. Over time, for the sake of adulation, fame and social position, he ingratiates himself to his newfound Nazi patron - a more menacing Mephisto -- and is offered all that he desires in the theatrical world.

The price? Surrender your Communist convictions, disassociate yourself from your Jewish friends and Afro-German mistress (Karin Boyd), divorce your wife (Mann's sister, Erika). In exchange, act as a puppet spokesman for the Third Reich. He complies and is appointed director of the Prussian theatre, admired as an actor in his role as Mephisto and respected in the Nazi government's social circle.

As Nazi control takes hold throughout Germany, Hendrik Hoefgen's colleagues escape to America, or into secret cells, preparing for resistance. His wife leaves. His friends beg him to join them. Although aware of the dangers, he remains behind, believing he can stage works unhindered by the Nazi government. Too late to realise the impracticality of his folly, he complies to survive, winning small victories that give the illusion of freedom.

The day of his reckoning comes in the last minutes of the film. The minister, unwilling to compromise and assist him any further, marches him to what appears to be a huge, dark void - a stage...perhaps hell. He is forced onto it. Spotlights bear down upon him. He runs frantically to and fro. Stops. Looks into the intensely bright light and pleads: "What do you want? I'm only an actor". Absolutely haunting!

Although Klaus Mann's novel more or less lampoons the complicity of his brother-in-law with the Nazis, the film explores a flawed and opportunistic, yet all too recognisably human character. One could draw parallels to what becomes of individuals and art when oppressive regimes impinge upon them. Some relent to it in order to survive; others who have a moral conscience flee to fight it.

Acting? Klaus Maria Brandauer's performance is so multi-layered, he captures the essence of the actor's psyche for invention and role playing. Equally mesmerising and sinister in his role is Rolf Hoppe. Karin Boyd is also a fascinating and talented actress to watch.

The DVD? The version I own must be the first edition release. The film quality appeared to be a scan and pan version. There was no interactive language menu, although English subtitles appeared by default in this German language film. As for the translation, well, some words in German are naturally more meaningful than the English translation. Still, I'm immensely delighted to possess this DVD, considering it is getting nearly impossible to find, and if you do manage to track it down it's available at some ridiculous prices. I can only hope this Oscar winning film will be re-released in the near future. It would be great to see the 1960 German version of this film ("Faust" starring Gustaf Gründgens) and some literature discussing Klaus Mann's novel included in a box set. How about it, Criterion? Kino?

This is a modern classic, set in Germany as it slid from the Weimar Republic into the Nazi period. Based on the Klaus Mann novel, it depicts the compromises made by a leading actor (based on the real life career of Gustav Gruendgens), who deluded himself into believing he could work with the Nazis while in fact being manipulated by them. On one level, it tells the ironic story of an actor who played Mephistopheles in Goethe's Faust, failing to recognize that he was dealing with a real Mephistopheles. At a deeper level, it tells of the impossibility of compromising with the reality of evil. All the performances are stunning, and the direction is fabulous. This is a film worth watching repeatedly.

Think in a masterpiece. Mephisto falls in this elite.Szabo is to date one of the best direcors in all the world.
His recent film Taking sides is another proof of this statement.
Mephisto has too many elements to be a genuine gem.The dynamic script, the amazing Klaus Maria Bandauer giving his the role of his life. Brandauer belongs together with a selected group of actors who goes far beyond the legend , Armin Muller Stahl, Jeremy Irons, Bruno Ganz, Harvey Keitel, Anthony Hopkins to name one of this selected group.
To built a story based in the sense of the opportunity , in the decay of the being human, when all his efforts seems concentrate in the search power no matter even if you sell your soul.
It's a ravishing film, very deep and conceptually rich. Since his debut in 1982 it became in a classic film.
You must watch it, once and several times, because as all masterpiece , you'll watch something new in it.

Lord knows I love me a biopic, and when you cast a great actor in the role of a lifetime, well you can pretty much count me in for a good time. `Mephisto' is just that type of a film, a strong, rich and vibrant accounting of a very intriguing man and his life, or at least the most pivotal points within it. The film is entrancing, compassionate, dark and brooding not to mention sensual and titillating. It has so much going for it that I'm pressed to find a single negative.

It may very well be the perfect biopic.

`Mephisto' is based off the book written by Klaus Mann, which tells the life story of actor Gustav Grundgens (probably best known for his role in 1933's `M'; an astonishing film). Gustav's name has been changed for the film to Hendrik Hoefgen, but we all know who this man is. A vibrant and eccentric stage actor, Hendrik lives and breathes his craft. His morals are conflicted when his loved ones flee from Germany in fear of Nazi rule and Hoefgen finds himself staying behind, trading his soul so-to-speak for his career. As Hoefgen slips deeper into his newfound existence we can see how it has taken its toll, transforming him into a person almost unrecognizable to himself or those closest to him. He gives up so much in the pursuit of his art, and thus defeats himself in the process.

The film is expertly crafted to grab out attention and never let it go. Each scene is haunted by the last, complimenting each other with a delicacy that flourishes within the films bleak realities.

There is a softness that blankets the films harsh undertones.

The term `role of a lifetime' is used to represent a performance that defines an actor; that focuses on all of their strengths and can be used to either jumpstart or revitalize a career; or maybe just serve as the pinnacle of their success. Personally I look at Hilary Swank's performance in `Boys Don't Cry' or Marlon Brando in `On the Waterfront' or Meryl Streep in `Sophie's Choice' as examples of this very term. Klaus Maria Brandauer had that moment here. His portrayal of the conflicted and haunted Hendrik Hoefgen is utterly genius. His expert manipulation of his characters emotions and motivations, not to mention our personal grasp of his being, is flawless. I remember seeing `Out of Africa' for the first time and just gasping over his excellence and wondering where I could see more of him. I have yet to really research his resume, but this is a performance that would be hard for any actor to top; seriously one of the best of all time.

Brandauer is in good company here. Gyorgy Cserhalmi is wonderful as Hans Miklas, one of Hoefgen's savage adversaries. Peter Andorai is effective as Otto Ulrichs, one of Hoefgen's dear friends and Karin Boyd is astonishing as Juliette, Hendrik's lover. I was very impressed with Rolf Hoppe who captured the quiet menace behind General Tabornagy's eyes; such restraint, such power.

`Mephisto' is a wonderful film, rich with meaning and an earthy realism that creates a very powerful medium. With stunning performances, detailed background and beautiful direction, `Mephisto' easily becomes one of the better biopics out there; a film that is as haunting as it is sincere; as important as it is unforgettable.

István Szabó's Mephisto is not always the easiest film to watch but the careful viewer will be rewarded. Klaus Maria Brandauer gives the performance of his career as actor Hendrik Hoefgen as he moves from a provincial player to acclaimed star and puppet of the Third Reich. The film is much more than a biopic of actor Gustaf Gründgens it is a subtle analysis of the place of art in an oppressive government.

Hoefgen is a political idealist in his native Hamburg wanting to stage plays to bring art to the masses. He gives up his dream when he moves to Berlin and becomes a tool of the National Socialists. The exploration is whether or not true art has a place in this type of government or whether art is just another piece of propaganda that can be used to keep those in power in power. Hoefgen finds that the artist must give up everything including his soul to reach the top. Brandauer's performance is magnificent and he is supported by a great cast. Szabo's long time cinematographer Lajos Koltai creates a mood of oppression with his intentionally long sweeping shots that sometimes seem to go on forever.

The film has long been out of print but can be found at some cost in this Anchor Bay edition which features a slightly dark transfer of the film with English subtitles. The subtitles are clear but may not always accurately translate the original German. The only extras are text biographies of Brandauer and Szabo and a short but vital featurette called The Naked Face which covers both Brandauer's and Szabo's methods for filmmaking.

This is a long difficult film but well worth the investment of time for anyone interested in serious foreign films.