The Reader – A Poignant Revelation !...

You enjoy watching the amorous eroticism between Kate Winslet and David Kross in ‘The Reader’ and wonder, why such encounters never happened in your teenage life. But in an hour, you comprehend - brief ecstasies inevitably results in exasperation and sorrow.

The Reader is a profound, clandestine love story about a young 15 year, Michael Berg (David Kross) and his girl friend Hanna Schmitz (Kate Winslet) who is twice his age. The film begins with Michael (Ralph Fiennes) a father, lawyer and now a divorcee, remembering his past. Hanna cajoles young Michael to read to her before they make love. She enjoys Homer, Chekhov but finds Lady Chatterley’s Lover disgusting. As the affair progresses the two develop intense feelings for each other. But like most love stories, Hanna jilts Michael. After several years, Michael meets Hanna, becomes aloof and distraught after learning her past and realizing her secret.

The story is based on the best-selling novel ‘Die Vorleser’ by Bernhard Schlink, translated in English by Carol Brown Janeway. The film is divided into three sections and moves between the present and the past. It is set in post-war Germany, against the backdrop of restoration work, Auschwitz trials, and in Berlin-1995. The film succinctly portrays the drama that unfolds between Michael and Hanna at each stage.

Kate bares her skin, soul and spirit but guards her secret to commit social solecism. She surreptitiously seduces, tones down her British accent but inadvertently pronounces ‘Siemens’ with “S’’ and not ‘’Z” like the Bravarians. David Cross is promising and his performance remarkably evocative. Ralph Fiennes displays a superlative feat and deserves laurels.

Chris Menges and Roger Deakins photography is surreal. David Hare’s screen play is a revelation. The cinematographer stunningly reconstructs Germany in all its colours and seasons. The lights and sets, bolster the narrative and takes you to a different era.

Claire Simpson’s brilliant editing avoids the Indian censor’s shears. It is precise, objective and carefully allows the film to oscillate through the bedroom, books, and different sets. The camera moves along with the actors. Hanna’s uniform, the mirror image and tram, provides a sneak preview into her personality and diligence. The close ups and over the shoulders shots delicately reflects the characters predicament while the wide angles, unfolds a splendid panorama. Nico Muhly’s music and sound, reverberates different sentiments. Late Sydney Pollack and his co –producers Anthony Minghella, Donna Gigliotti and Redmond Morris couldn’t have asked for more.

Although the film appears as the story of sexual initiation and attraction for an enigmatic older woman but it actually presents an incisive insight of those involved in the atrocities of the Second World War. The dialogues incisively interrogate and inveigle, not just the actors but also the viewers. The conversation between Michael and Lena Olin, Auschwitz survivor and prime witness at Hanna’s trial, is sharp and acerbic. The courtroom drama and the ensuing deliberation with his Professor, explores the spiritual debasement that the holocaust engendered in a generation of people who might in other circumstances be entirely decent.

Stephen Daldry’s spectacular direction provides an internal glimpse to the character’s helplessness, shame, anger and their tortured state. The director expertly captures Michael’s conflict with his father and Hanna. Some scenes distinctly stand out. The eyes express and are seen to be believed. You stir, when Hanna boldly asks the judge, “What would you have done?” When Ralph Fiennes pleadingly seeks atonement, you understand pain, guilt and redemption through his eyes. You leave the theatre in silence but several scenes keep piercing your mind but let me not reveal the suspense.

The Reader makes you forget the outside world. Indeed an engrossing, sensitive, memorable film which will stay in your memory for long.