German director Christian Petzold’s movie Barbara is one of the most paranoid
films of recent years. Not in a lunatic, they’re all out to get me way, but in
the very real way that political dissidents lived in East Germany during the
Cold War. This particular study, which could easily be considered a sister film
of Florian Henckel von Donnersmarck’s brilliant The Lives of Others, concerns a female physician forced to give up
her prominent post at a hospital in Berlin for a life at a pediatric hospital
in the countryside. I’m not sure the reasons for her exile are made explicit in
the film, but Wikipedia (not necessarily renowned for its accuracy) says it was
because she applied for a visa to leave for the West.
Regardless of the reasons, Barbara is stuck in the middle
of nowhere, living in a sub-standard flat on a meager government salary, all
while living under the scrutinizing gaze of the Stasi. Her boss and colleague,
Andre (Ronald Zehrfeld), admits to being required to provide reports on her
behavior. What Barbara doesn’t know is whether he works directly with the Stasi
or if he’s an unwilling participant in their spying. Such is the nature of
living under totalitarianism, or at least the kind imposed by Soviet control in
the GDR. They maintained control over the citizenry by the threat, both
implicit and explicit, that anyone you know at any given time, could be
informing on your opinions. George Orwell foresaw this kind of life, publishing
his classic 1984 several months
before the establishment of the GDR.
While Barbara is scheming with her West German boyfriend
to escape the clutches of her government, she has to keep everything in total
secret. Imagine the difficulty of not being able to share any details of your
real life with any of the people around you for fear they will turn you in. It’s
human nature to be social and share with others. I think we instinctively want
to seek others’ approval and so to keep hidden inside you that you take bike
rides to neighboring villages to receive from third parties stacks of cash that
will help pay for your escape, or that you sometimes meet your boyfriend either
in the middle of the forest or secretly in a hotel for Western tourists, must
be some special kind of internal torture itself. And so Barbara keeps herself
as isolated and withdrawn as possible. She offers perfunctory greetings that
can hardly even be called pleasantries when she arrives at work or in the lunch
cafeteria. But slowly over the course of the film, her motivations become
clearer even as we don’t necessarily draw the connections as the various scenes
play out.
Nina Hoss plays Barbara stoically, almost stone cold and
bereft of emotion. She can’t allow her face to betray her, even as the Stasi
officer Schütz (Rainer Bock) searchers her home, which includes humiliating
body cavity searches. Barbara’s guard is always up, a fact conveyed by Hoss’s
arms folded across her body through most of the film. Her body language rarely
changes, but the moments when it does become revealing. If Andre is a Stasi
plant, he is the polar opposite of the clinical Schütz, what with his mussed
hair, grizzled beard, and plump frame. He is made to look inviting, perhaps a
little too much so. His explanation for his presence in a backwater hospital is
either a devastating personal reality for him, or a too clever cover story. We
don’t ever really discover the truth, but that’s sort of beside the point.
Petzold’s direction is about as clinical as that Stasi
officer whose presence is a thorn in Barbara’s side. His spare use of close-ups
and many long static shots make time feel almost as if it’s standing still. You
get a sense that life in these conditions is something like a frozen hell. It’s
a life with no linear motion either forward or back, just a series of events
that may or may not lead to something significant.
And because it’s a narrative film of course it does. The
big X factor in the story is the arrival a pregnant teenager who has recently
escaped from a hard labor camp for youths. How these elements play out I will
not reveal, except to say that it makes all the waiting and effort on the part
of the viewer worth it. I am left with some questions on character motivations
in the end as my viewing partner and I had differing opinions. But I would
guess that closer study of the psychological elements of the characters will
suggest there’s more than meets the eyes and even the instincts in this very
beautifully constructed and coolly chilling tale.
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