István Szabó-Mephisto (1981)

This film faithfully recreates the novel written in 1936 by Klaus Mann. It is a reflection of the age old temptation of Man, the story of Goethe's Faust. Karl Maria Brandauer is magnificent as Hendrik Höfgen, the obsessed "actor" who will do anything to gain wealth and fame. He first betrays the world around him, and then his inner values are swept away as he finally enters the inner sanctum of Nazi Germany. Is true theatre on stage or in the handshake that Höfgen makes in the prime minister's box behind the audience? Everything in this movie revolves around Höfgen's downward spiral into the abyss; the initial ascent to stardom was but an illusion. Mann instinctively knew that tragedy would befall his country when a pact was made between Hitler and the financial, industrial and military élites of Germany - remember the book was written nine years before that country's downfall. View the movie and read the book. Two truly artistic achievements! Thumbs up to István Szabó and K.M. Brandauer who managed to reveal everything in Höfgen's character.



MEPHISTO is foremost a film about a life in a particular situation, about decisions one has to make, about burden one has to carry, about misunderstanding one has to prepare for and about treason one has to cope with. Hendrik Hoefgen (Klaus Maria Brandauer) appears to be a very complicated person: he wants to do something powerful yet, he is haunted by insecurity and fear that lie within his four walls of the psyche. As a result, he wears a "symbolic mask" among people. The role of his life is Mephisto which he portrays twice. However, he does not expect that this second time, in order the portrayal to be accepted, he will have to adjust it. Moreover, what he never foresees is that he will also have to adjust his entire life and career in order to exist. The moment that presents his character in a nutshell is the meeting in the theater with Nazi Prime Minister Hermann Goering (Rolf Hoppe) - his behavior changing from insecurity and soft handshake so despised by the new leaders to cold smile and obedience. Then, they will start to "like" him, then, they will call him Mephisto (our "Mephisto"). But is that the only way to popularity?…



But the development of the main character, which is close to masterwork, is not all MEPHISTO offers. It's a movie about a particular reality (presumably a political content) that Germany was exposed to in the 1930s, the reality that never leaves you indifferent. It is a movie that provokes emotional thoughts in any viewer ready to reflect. A pack of fanatical men rule, force a "code of proper beliefs and behavior" and…what to do to survive? Either immigrate or adjust oneself to this reality. Those who reject a new vision of Germany (e.g. Hans Miklas or Otto Ulrichs) experience the worst (of course, communism was another evil of the time); those who immigrate (Hendrik's wife Barbara) are regarded traitors; yet, those who stay and parrot the "pseudoclassic slogans" are, for the time being, used for certain purposes. Yet, not all people can choose…



The performances are terrific. Klaus Maria Brandauer portrays his part in a very powerful way. You see an actor playing an actor, a mask among people, an actor in his roles, an actor in his life, a person who once appreciated freedom; yet, in time, asks himself "Freedom? What for?" It occurs that the Nazi dominate his life already. I think that if you like Mr Brandauer as an artist, you would definitely regard this role as one of the best ones except for Redl (1985) and Nebuchadnezzar (1998). I am proud to say that Krystyna Janda, a Polish actress, is in this film. Although I don't list her as one of my favorite actresses, I have to admit that she very well fits to the role of Barbara Bruckner, Hendrick's wife. In a memorable conversation in Paris, she does a very fine job showing helplessness, rejection and disgust to what happens in Berlin. The third role absolutely worth consideration is Rolf Hoppe's Hermann Goering - he portrays a real Nazi whose behavior is supported by three pillars of the ideology: power, absolute pride and inflexibility.



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P.S. I tried to find a subtitle for this movie, but actually ,I had find one this is a little desyncronised.