Phoenix, 2014.
Directed by Christian Petzold.
Starring Nina Hoss, Ronald Zehrfeld, Nina Kunzendorf, Michael Maertens, and Imogen Kogge.
SYNOPSIS:
A concentration-camp survivor searches ravaged postwar Berlin for the husband who might have betrayed her to the Nazis.
A car reaches a checkpoint guarded by American soldiers one of whom demands that the passenger remove the bandages wrapped around her face; upon seeing the injuries that were hidden he apologizes for his behaviour and lets them carry on. The badly disfigured woman is a Jewish heiress who has returned to Berlin and has come into an inheritance as she is the only remaining member of her family; when given the choice for facial reconstruction she decides to maintain her original appearance.
Hanging over the proceedings is the disappearance of the husband of the protagonist who may or may not be responsible for her capture by the Nazis; despite this she is determined to be reunited with the love of her life and seeks him out by visiting various clubs in the American sector of Berlin. The quest is accomplished though the one-time piano player turned waiter does not recognize his spouse and devises a plan to use her as the means to get access to the inheritance of his wife.
Phoenix is a slow-burn which allows the action to unfold rather than force plot points at certain time frames. Ronald Zehrfeld (Barbara) portrays a desperate and conniving character who looks like an overweight version of Clark Gable. Nina Kunzendorf (Woman in Gold) portrays a true friend of the protagonist who sees the future to be had in Israel rather than staying in Germany. The star of the period drama is Nina Hoss (Yella) who has play an individual trying to pretend to be herself; there is a quietness to her performance that one is never sure whether she will succumb to will of her devious object of her affection or will be able to stand on her own.
Filmmaker Christian Petzold (The State I Am In) has crafted carefully composed shots and gradually shows the reconstructed face as it begins to heal. There is no sense of hurry; however, the plot always seems to be going forward. The twist on the Pygmalion (1938) storyline adds a level of intrigue and the final scene is priceless for the reaction of the various characters as Phoenix reaches its climatic conclusion on a high note.
Flickering Myth Rating – Film: ★★★★/ Movie: ★★★★
