Transit, 2018.
Written and Directed by Christian Petzold.
Starring Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman, Barbara Auer, Matthias Brandt, and Sebastian Hülk.
SYNOPSIS:
In an attempt to flee Nazi-occupied France, Georg assumes the identity of a dead author but soon finds himself stuck in Marseilles, where he falls in love with Maria, a young woman searching for her missing husband.
Take whatever stuffy period piece mental image entered your mind upon reading the above synopsis for Transit and remove it. Written and directed by revered award-winning German auteur Christian Petzold (adapting the novel from Anna Seghers), the narrative here is immediately anachronistic; yes, there are refugees and the Nazis are invading Paris and it’s clear that we are in World War II, but the wardrobes, military weaponry, vehicles, dialect, and set design are all clearly a fusion of different decades post-war but nowhere near modern. More importantly, it’s not just a stylistic decision, as it’s a sad reminder that the more things change the more they stay the same; it’s almost like looking at a mirror that’s bouncing sunlight off into a similar mirror that’s just at another angle.
This creative decision is also intertwined into the film’s many characters that are living with uncertain destinations (as most refugees do). Georg (Franz Rogowski, who looks like a cross between Jason Clarke and Joaquin Phoenix, is reserved and puts in a nuanced performance to the 11th degree, masterfully illustrating uncertainty, guilt, and confusion) comes into an opportunity to flee France just before the Nazis completely take control, leaving for Marseilles but not without complications along the journey. Essentially, his goal is to travel with and protect a popular writer, but following his death, Georg begins to take on the man’s identity. Consumed by the detail within the writer’s stories and memoirs, Georg comes into contact with the wife (Paula Beer) of the novelist who had previously left him but is now desperately looking to reunite with him so they can head to Mexico and live out their days happily ever after. He also comes into contact with a deaf and somewhat unintelligent woman that has a son, who Georg quickly becomes attached to as he is also responsible for the death of the author’s son.
The writing and the handling of these characters (and I’m assuming the actual novel itself) are what separates Transit apart from just another story of assuming a false identity for good deeds. Most films don’t actually accomplish this, instead, floundering and having the protagonist come across creepy more than morally conflicted. There’s a centerpiece scene where Georg helps the soccer-loving child repair his radio, and while I’m not entirely convinced it’s enough to make him desire a family with these people, there’s great warmth and humanity to the moment; a true sensation that this man is lonely and lost, figuring out the best course of action as he goes utilizing trial by error. The same goes for Georg warming up to the grieving wife, who also happens to not be having a fling with an ambitious refugee doctor.
We also get glimpses of his isolation by his interactions with the plentiful other refugees taking shelter inside the nearby hotel, most of which frustrate him while also poetically driving home the point that, refugees or not (but especially refugees), we are all stories moving from chapter to chapter. Realistically, you could probably make a movie about any one of these undocumented immigrants and find worthwhile drama to mine. It’s also a testament to Christian Petzold’s talent as a writer that he is able to generate intrigue for as many characters as he does, spreading balance among the supporting players to further amplify the challenge in Georg choosing and committing to any of his options. Going back to the mirror analogy from before, the rest of the characters are tested the same way.
It may not seem like a lot is happening in in Transit (it’s definitely a slow-burn movie tailor-made for those that enjoy in-depth character studies and playful visual aesthetics), but Christian Petzold’s script and direction is airtight. During the last 15 minutes, the narrative goes back and forth between multiple directions, each one resonating like a kick to the gut; you want these characters, all of them, to make the decision that rewards them with the most happiness. That’s also not an easy trick to pull off when you have a man intimidating a dead author getting close that man’s wife. It could be argued that the narrative burns a little too slow to pin the viewer emotionally to the plot, but Transit is a beautifully understated examination of the refugee crisis (both of yesteryear and today) and individual stories always being in motion. Franz Rogowski is quietly affecting and makes you feel every drop of confliction.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Flickering Myth Reviews Editor. Check here for new reviews, friend me on Facebook, follow my Twitter or Letterboxd, check out my personal non-Flickering Myth affiliated Patreon, or email me at MetalGearSolid719@gmail.com
Originally published March 11, 2019. Updated November 29, 2019.
