Good German, The

2006, USA

Genres:

Drama | Mystery | Thriller

Actors:

Jack Thompson		Congressman Breimer
John Roeder		General
George Clooney		Capt. Jacob 'Jake' Geismer
Tobey Maguire		Patrick Tully
Cate Blanchett		Lena Brandt
Dominic Comperatore		Levi
Dave Power		Lieutenant Schaeffer
Tony Curran		Danny
Ravil Isyanov		General Sikorsky
J. Paul Boehmer		British Press Aide
Igor Korosec		Russian Soldier #1
Boris Kievsky		Russian Soldier #2
Vladimir Kulikov		Russian Soldier #3
Yevgeniy Narovlyanskiy		Russian Soldier #4
Aleksandr Sountsov		Russian Soldier #5

Directors:

Steven Soderbergh |

Certification:

Germany:12 | Ireland:15A | Finland:K-15 | UK:15 | Switzerland:12 ... show all

IMDB Rating:

6.10 out of 10 (2347 votes)

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Storyline

Taglines:	1: If war is hell then what comes after? 2: Every heart has its secrets, some more dangerous than others. 3: Not Everyone Finds Peace After The War
Story Summary:	Berlin, July, 1945. Journalist Jake Geismer arrives to cover the Potsdam conference, issued a captain's uniform for easier passage. He also wants to find Lena, an old flame who's now a prostitute desperate to get out of Berlin. He discovers that the driver he's assigned, a cheerful down-home sadist named Corporal Tully, is Lena's keeper. When the body of a murdered man washes up in Potsdam (within the Russian sector), Jake may be the only person who wants to solve the crime: U.S. personnel are busy finding Nazis to bring to trial, the Russians and the Americans are looking for German rocket scientists, and Lena has her own secrets.
Keywords:	airport \| berlin-germany \| reporter \| flashback-sequence \| russian \| sex \| wallet \| vulgarity \| 1940s \| adultery \| double-cross \| jewish \| murder \| movie-theater \| peace-conference \| marriage \| war-criminal \| fugitive \| hospital \| military-officer ... show all Complete list of certificates: hide airport \| berlin-germany \| reporter \| flashback-sequence \| russian \| sex \| wallet \| vulgarity \| 1940s \| adultery \| double-cross \| jewish \| murder \| movie-theater \| peace-conference \| marriage \| war-criminal \| fugitive \| hospital \| military-officer \| film-noir \| general \| military \| sewer \| scientist \| rape \| wwii \| bar \| american \| soldier \| stabbing \| old-flame \| presumed-dead \| congressman \| neo-noir \| prostitute \| corpse \| based-on-novel

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Movie Reviews

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Title:	Movie Review for The Good German
Original:	http://www.cinemablend.com/reviews/The-Good-German-1972.html

Summary:	Usually when we call a movie a period piece, it just means a lot of actors playing dress up. But Steven Soderbergh's The Good German takes things one step further. It's not just set in 1945, it's shot like it was filmed in 1945. The movie looks, feels, and sounds like a piece of post World War II film noir. Soderbergh has rolled back the clock on making movies and obsesses over precisely duplicating what a movie from that era should look like, flaws and all. The result is a film that feels authentic in a way few others about the era have managed to do. Like it or not, for those of us who didn't live it our perception of that era comes from the movies and pictures we've seen of it. By incorporating all of that into the look of his movie, Soderbergh flips the switch inside your head that makes you think �oh yeah, I'm actually looking at 1945�. If Stalin had walked around the corner and given George Clooney a high five, I wouldn't have been the least bit surprised. Yet though The Good German has all the particulars of a movie shot in 1945, it has the complexity and moral ambiguity of a modern work. George Clooney plays a journalist named Jacob Geismer who walks into the middle of Berlin two months after the conquering of Germany in World War II. The Americans and Russians are meeting to decide how they'll divide up the country, and Berlin is a hive of danger and intrigue as former allies who know they're soon to be enemies scramble to guarantee themselves an edge in what they know will be the next war. Jacob is there to cover the Potsdam peace conference, but instead ends up embroiled in a murder investigation that leads him straight into a maelstrom of post-war backstabbing between major powers. The driver assigned to him is dating his ex-girlfriend Lena, an impossible coincidence which clues him in on the fact that things are not exactly as they seem. But for Jacob what's happening is simple. A man has been killed and he refuses to let it be covered up. Otherwise, what the hell were they fighting this war for? At the center of it all is Lena and her deceased, Nazi husband. She calls Jacob a bloodhound, and he is. Soderbegh's movie follows him as he digs deeper into the darkness only hinted at by the movies of the era he's aping with vintage camera lenses and a piped out of an orchestra pit musical score. . . . read all

Title:	Movie Review: The Good German (article) by Frank Koerner on AuthorsDen
Original:	http://www.authorsden.com/visit/viewArticle.asp?id=26380

Summary:	About ten minutes before this movie actually ended, I thought it was mercifully ending. There had been a street crowd scene. The Good German� had been murdered on the street. The journalist and protagonist (George Clooney) looked remorsefully down at the corpse, the scene went from close-up to panorama, and then went dark. I expected �The End�, but the movie�s tacky end needed yet another 600 seconds. I was completely misled by the title of this movie. The title conjured up notions of a change of attitude towards the ordinary German people of the time, millions of whom had themselves been powerless victims of their own Nazi government. To sit in a theater for 90 minutes and not yet know who �The Good German� was suggests a serious plot defect. What could have been an intensive, calculated suspense was merely rampant confusion. Then, an easily missed 5 word sentence in Cate Blanchett�s dialog finally identified the title character. The film�s intent is not to convey that some Germans were good Germans. Rather, it is the continuation of the typical, anti-German depiction of the Nazi years. It also simultaneously portrays an equally blatant anti-American sentiment by demonstrating that our government�s hands were becoming just as dirty as were the Nazis�. The film spotlights our government�s strategy of tracking down Hitler�s rocket scientists and putting them to work for Uncle Sam, regardless of the fact that they had been card-carrying Nazis. A fat cat American politician states this as our government�s goal. He is in Berlin to attend the Potsdam Conference and flatly depicts America�s strategy. This movie portrays the tactical execution of that strategy. The activity is justified by the notion that the Soviets in post-war, occupied Berlin are doing exactly the same thing. Both camps are searching for �The Good German�. He had been an administrative assistant in the Nazi rocket program. As such, he had the �goods� on a Nazi rocket scientist. The Good German was publicly threatening to �spill the beans� on that scientist. The Americans did not want that. They wanted to emigrate a �clean� Nazi. The Russians wanted The Good German to lead them to the rocket expert. The Soviets were unaware that the rocket scientist was already in an American safe-house. . . . read all

Title:	Film Reviews & Movie Showtimes \| 'The Good German'
Original:	http://www.metroactive.com/metro/01.17.07/good-german-0703.html

Summary:	T HE BIGGEST screen disappointment of last year, The Good German , is now slinking into town. Director Steven Soderbergh fails in his effort to combine the sturdiness of vintage Hollywood plot with today's sensibilities. Jake Geismer (George Clooney), a New Republic correspondent, arrives in Berlin after World War II to watch as the Allies divide up the spoils of Germany. He wears a soldier's uniform: "It was the Army's idea of a joke. Geismer is immediately set upon by a predatory driver, Tully (Tobey Maguire), who throws the film out of joint by providing a voice-over narrating. Tully is an opportunist; he says, just as Russ Meyer used to, "The war was the best thing that ever happened to me. Dietrich that's every bit as good as her Kate Hepburn. A sturdy-looking love triangle starts to form, interrupted by murder, MacGuffins and conspiracy. Copying Casablanca is a mug's game. Instead of "Of all the gin joints in all the towns in the world, she walks into mine," we hear "In this whole goddamn country she ends up fucking my fucking driver. Soderbergh can't re-create the bad poetry of Casablanca any more than he can quite capture the pearly surfaces of black-and-white studio lighting. The wipes he slides across the screen shatter the mood instead of smoothly advancing the plot. Clooney has a fine face for black-and-white, but he's never going to be mistaken for Joseph Cotten. He's not culpable enough, even if he gets beaten up more times than Mike Hammer. The Good German is a movie that's inexplicable to anyone who hasn't seen Casablanca thrice and The Third Man 30 times. It's a case of film seduction turned clumsy. There are moments where you want to go along with it, when a Lockheed Elektra revs its propellers on a rainy runway, or when Blanchett spears a man with a contemptuous gaze. And then, inevitably some clumsy line, some baffling scene, throws you off. Yet there's a nugget of unsavory history here. To Soderbergh's credit, he recalls one of the big deceptions of the postwar era: what historian John Gimbel termed the taking of "intellectual reparations. "We don't deal with terrorists," indeed; we have a well-documented history of it. The blasphemy of saying the Good War was as subject to pimping and whoring as any other conflict squeezed a complaint out of The New York Times ' Manohla Dargis, who couldn't believe Soderbergh "end(ed) up suggesting that in wartime everyone's hands can become slicked with blood, even a Jew in Nazi Germany. This is also documented history and can and will happen anyplace the human back is pressed hard enough against a wall. Unlike our more optimistic entertainers, Soderbergh stresses that the horror of the Nazis ennobled no one, but trying to reconcile an art that contains both studio entertainments and the accusatory neonoirs of Fassbinder, The Good German doesn't work at all. It's a disaster, not a disgrace. . . . read all

Title:	The Good German - Movie Rental Review
Original:	http://www.commonsensemedia.org/movie-reviews/Good-German.html

Summary:	Care what your kids watch? Sign up for our newsletter to get the latest reviews every week. Parents need to know that this black-and-white, 1940s-style "film noir" isn't likely to appeal to kids. Its plot includes references to Nazis, war crimes, and the atomic bomb, as well as lots of strong language and violence (beyond what typified the era). Characters frequently say "f-k"; there's also one use of "c-t" and an anti-Semitic remark. Violence includes beating, kicking, and shooting (resulting in bloody wounds). Sexual imagery includes a woman stripping, a rough sexual act (the woman's figure and face are in shadow), and some kissing. Several references are made to Lena's work as a prostitute. Characters smoke incessantly (it's 1945) and drink like fish. Families can talk about the film's attempts to mimic 1940s style and culture. How is the era presented differently in this movie than in films actually from that time period? How does the movie's explicit language and violent imagery alter your idea of what 1944 might have been like? How do Lena and Jake form a romantic couple that is at once old-fashioned (sentimental, nostalgic) and like those in present-day movies (cynical, passionate)? Set in 1945 Germany, THE GOOD GERMAN is Steven Soderbergh 's latest expansion of stylistic and thematic boundaries. Shot in black and white, the movie focuses on the moral and political dilemmas emerging from the Potsdam Peace Conference, where, an epigraph asserts, Harry Truman, Winston Churchill, and Josef Stalin gathered to "draw the postwar map. As the film begins, reporter Capt. Jake Gesimar ( George Clooney ) arrives in Germany to cover the conference. Immediately, he's set in opposition to his younger driver, Corporal Tully ( Tobey Maguire ). The men's differences come to a head over a femme fatale - a prostitute named Lena ( Cate Blanchett ) who's currently Tully's girlfriend and was formerly Jake's lover. Soon Jake is embroiled in a murder case that's been covered up by crafty American Colonel Muller (Beau Bridges) and somehow involves the insidious Russian General Sikorsky (Ravil Isaynov). Jack is variously helped and stymied by convention attendee Congressman Breimer (Jack Thompson) and war crimes prosecutor Bernie Teitel (Leland Orser). Bernie is friend of Jake's from the old days who knows enough not to trust him, but is invested enough in tracking down the now-scurrying-away Nazis that he makes deals with whomever will help him do it, be it Jake or the U. . . . read all

Title:	The Good German - Rotten Tomatoes
Original:	http://www.rottentomatoes.com/m/good_german/

Summary:	Kudos to George Clooney for his latest film selections: He's starred in a number of high-brow, political , thought-inspiring movies in the last few years. Want to see your friends' ratings and Tomatometer appear here? Create a journal and start rating films in your entries. Afterwards, invite your friends to do the same. It's FREE and only takes a couple minutes! The music and story are lousy. I�m calling for a Clooney- Soderbergh divorce. The Good German is a mechanical movie, pushing forth in a way it believes appropriate rather than finding a natural flow. Every lovingly misprinted optical dissolve and abrupt cut to stock footage left me squealing with delight. But is the movie itself any good? Buddies Steven Soderbergh and George Clooney started out so well. But The Good German is so painful that their recent decision to go their separate ways really merits a gospel choir. Soderbergh's skill, intelligence and love for the genre are never in doubt. But, as it turns out, you can't play it again, Sam. The Good German , Steven Soderbergh's film noir homage, is nearly perfect when it comes to style and tone, but it concentrates so single- mindedly on the mechanics of the narrative that it loses sight of its characters. We get no heroes, not even flawed ones. Clooney, our marquee man, chases through numbing plot contortions only because of his lust for Lena. By the time The Good German ended, I had barely a clue if the good ones had lived or died. The Good German is a movie wonk's triumph and no one else's. Soderbergh gets the visuals right but not the clean storytelling line of classic cinema, nor the iconic characters or moral certainty of the oldies. In a few quick strokes, Soderbergh and screenwriter Paul Attanasio (working from a novel by Joseph Kanon) sketch a convincing scenario in which it is technically not possible for the good guys to win a war because good guys don't fight them. . . . read all

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Good German (Video Preview).avi	23.98 MB	download

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