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Downfall (2004). The magic of Downfall is that it puts the humanity into the monstrosity of Hitler's inner circle. The story's realism is almost painful, making the thugs more cringe-worthy as we see them as fairly normal men, not werewolves or other such mythical beasts.

The story is both riveting and authentic. Downfall is a long movie that covers a short span of time, but it accomplishes this with an expert's eye. It shows us these last days from multiple viewpoints, such as in the opulence of the bunker to the shambles on the front lines. Where it was a little ambitious is in the number of characters that are swirling about on the screen, but this is likely my ignorance of history as opposed a dig of the film.

The scary thing about having a plethora of actors and actresses, all with important roles, is that one or two is likely going to suffer from a paucity of talent. But that simply is not the case here and each and every performance deserves rightful accolades. Of course Bruno Ganz almost steals the show with his portrayal of Hitler. This performance portrays the Hitler we have all heard about but with a touch of down to Earth humanity that we wish would just go away. But go away it does not, leaving us to fully experience Hitler the man and not the myth. As the end comes near Bruno delicately ages his character, all the while displaying a fairly lucid character punctuated by berserk outbursts of spoken violence fueled by hatred and psychosis. To mention all of the great performances would take more digital ink than is necessary, but a special mention should be given to Alexandra Maria Lara portrayal of Traudl, Hitler's real-life secretary whose presence in that infamous bunker is the main source for these events. Alexandra is spectacular as the naive young lady whose allegiance to Hitler is out of pride and ignorance. Those doe eyes say everything she must be feeling, especially when present at one of Hitler's rants.

Oliver Hirschbiegel's direction was nothing short of brilliant. This was one of the most painfully honest movies told of the Nazi regime, and it was through his deft direction that this 156 minute movie remains captivating throughout. The photography was sublime. with its choice of movement, whether from the shakeup of a bombing or the swirling of a swing dance, the photographer almost effortlessly conveys the subtle presence of every shot. The effects were brutal and effective. When those bombs drop we are compelled to dive out of the way right along with our onscreen protagonists. And those hospital scenes reveled in its displays of the gore of war. In fact, every aspect of Downfall was outstanding.

By this movie's finish, instead of just knowing a little more about the last days of the war, you will felt almost as if had lived it, almost to the point that a little inappropriate guilt might have rubbed off.
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