English The Lives of Others Flashcards
Wiesler Tone (Start)
From the outset, we witness Wiesler terrorise an ordinary citizen, for a minor infraction. Initially, the staunch Stasi officer is seemingly incapable of change. The dialogue spoken by Wiesler is significant as it reveals his proficiency in creating an atmosphere of intimidation and psychological pressure on those under investigation. He asks pointed questions, extracts information efficiently, and maintains a stoic demeanour throughout, strictly adhering to the ideology and practices of the Stasi. In response to 227 implying that he has been detained needlessly, Wiesler states that “if you think our humanistic system is capable of it. That alone would justify your arrest.” Wiesler instils fear and reinforces the idea that resistance or dissent will not be tolerated. It implies that even questioning the system’s capability for injustice or inhumanity is a sufficient reason for the state to arrest and punish individuals.
Chiaroscuro
Wiesler’s tactics intensify when he threatens to arrest 227’s wife and put his children under state care. The escalation of pressure is visually depicted through a medium closeup shot of 227 where the light is carefully orchestrated to create a stark contrast between light and shadow, with one half of the suspect’s face illuminated and the other half cast in darkness. The chiaroscuro serves to heighten the psychological turmoil experienced by the suspect, torn between opposing forces, such as personal loyalty and the fear of endangering his family. von Donnersmarck effectively delves into the complexities of human nature and the moral choices individuals are forced to make in oppressive systems. He invites the audience to engage with the ethical dilemmas at the heart of the story and reminds us that no aspect of life is truly private or beyond the reach of the state’s surveillance.
Idea 1
The interrogation scene serves as a microcosm of the larger political climate of distrust, control and surveillance that permeated East German society during the Cold War. von Donnersmarck deliberately juxtaposes the oppressor and the oppressed to establish the brutal nature of Stasi control and help us understand the atrocities East Germans faced at the hands of their own people. His unique artistic vision ultimately elevates the film, creating an emotionally resonant depiction of a dark period in German history.
Brecht’s Poem
Later, Wiesler is tasked to conduct surveillance on the famous playwright Georg Dreyman. After some time, Wiesler experiences a haunting emptiness that urges him to enter Dreymon’s apartment. He ends up stealing a Brecht poetry anthology and later returns to his sofa and begins reading. The scene is accompanied by the voiceover of Wiesler, himself, reading the poem aloud. The use of warm lighting in conjunction with the orange sofa lightens the atmosphere, symbolising the introduction of vibrancy and depth into Wiesler’s previously colourless and dull existence.
SONATA
Dreymon is later informed that his friend and former director, Jerska, has committed suicide. Dreymon moves to the piano and begins playing the piece “Sonata for a Good Man,” composed by Gabriel Yalred, for the film. It is this piece of music that von Donnersmarck describes as “strange, beautiful, haunting, angry,” that has a profound effect on Wiesler. von Donnersmarck cuts to Wiesler in the attic, listening intently. A slow medium pan reveals Wiesler’s facial expression; he is clearly affected as a tear rolls down his right cheek. Leaving a shining trace, the tear indicates Wiesler’s possession of guilt, but also uncovers a good conscience hidden beneath it. The catharsis Wiesler experiences, triggered by the therapeutic function of art, awakens his goodness and sympathy. At the end of the Sonata, Dreymon asks Christa-Maria, his lover, “Can anyone who has heard this music, I mean truly heard it, really be a bad person?” Catalysed by art, Wiesler becomes an empathetic human being, “a good man.” Dreyman proceeds to publish an anonymous article in West Germany accusing the state of concealing the country’s elevated suicide rates. This angers East German authorities as they attempt to link the article to a registered typewriter.
End Context
After an unsuccessful search of the hidden typewriter, Grubitz, Wiesler’s superior, says to him “Your career is over. Even if you were too smart to leave any traces.” Wiesler, however, does leave a trace. He accidentally leaves a red fingerprint on his report, a trace that uncovers Wiesler’s secret identity both as a saviour and as a sinner. As a result, he unintentionally makes a confession of his deeds to Dreyman. With the eventual fall of the Berlin Wall, a flourishing consumerist culture replaces East Berlin’s isolated, lifeless society.
Idea 2
Throughout Wiesler’s surveillance on Dreymon, we see that he becomes increasingly conflicted. It is at this moment where he decides to protect the couple by falsifying reports and withholding information from his superiors, knowingly putting himself at risk. Wiesler’s silent confession is a deeply internalised process. Instead of vocalising his remorse or change of heart, he works out his salvation through active atonement. This reflects a profound inner struggle and a genuine longing for redemption. He goes on to save Christa-Maria by intervening in her affair with Minister Hempf and later save Dreymon by bearing the marks of his sin, the typewriter. Wiesler atones selflessly for the sins of both Christa-Maria and Dreyman. His change to a compassionate protector not only humanises him but also shows us that even the most ruthless people have the capacity to change for the greater good.
HGW XX/7
A tracking long shot of Wiesler is used to capture him walking sedately on his route, carrying out a menial and repetitive occupation; delivering junk mail. He is seen wearing grey pants and an unzipped grey nylon jacket which directly contrasts with the full dress Stasi uniform he was wearing at the start. Shortly, von Donnersmarck cuts to a medium-closeup of Dreyman as he observes his guardian angel from a distance and later writes his ‘report’ – a book, in recognition of Wiesler’s sacrifice. This resurrection sequence restores Dreyman’s faith in humanity, his passion to write, and elevates Wiesler’s life to a work of art. “Dedicated to HGW XX/7, in gratitude,” Dreyman brings Wiesler’s story to light, a compensation for his silent martyrdom. The last words of the film are spoken by Wiesler, when asked if he wants the book gift-wrapped. He says “No. It’s for me.” The movie ends with a long freeze-frame shot of Wiesler glorified by an upwardly angled camera.
Idea 3
In the same way, Wiesler revitalises Dreyman’s art, which in turn immortalises Wiesler’s story; they bring mutual salvation to each other. von Donnersmarck masterfully showcases the enduring and timeless power of art to inspire, provoke, and ultimately affirm the dignity and worthiness of every individual. He makes it blatantly apparent that the ability to change for the greater good resides in each and every person.
