5/10
A celluloid damp squib
3 May 2007
Intentionally imitating the movie aesthetics of something like Roberto Rossellini's Germania Anno Zero during the opening credits and then looking like a noir right afterwards, Soderbergh's latest starts off seeming like it might turn out to be a gem. It keeps that illusion in the viewer for about the first 15-20 minutes, and instead gets progressively more unengaging and unremarkable with every passing minute, finally leaving you virtually indifferent by the end. Convoluted plots must work extra hard to avoid gaping plot holes – this one didn't work hard enough. The Good German hides behind an aura of mystery which quickly crumbles away as one unlikely twist starts following hot at the heels of another one, eventually testing the viewer's willingness to suspend his disbelief.

***SPOILER***: Personally, my biggest disappointment was realising that the entire movie rested upon a very unlikely premise: that of an SS Officer having been married to a Jewish woman. This is simply historically impossible, as generous as one may want to be towards the movie. ***END OF SPOILER*** The Good German is apparently based upon true events, but the character played by Cate Blanchett was actually a combination of two real women: a Jewish one and an Aryan, an SS Officer's wife. In order to heighten the drama, the movie's writers made the latter become a Jewish SS Officer's wife. A melodramatic, historically unlikely gimmick for a central premise is not what good, solidly scripted movies are usually based upon. Meanwhile, George Clooney tried his best in his undefinable role, but at least Tobey Maguire made a very convincing prat. Perhaps the most remarkable player in this was accidentally Ravil Isyanov in his supporting role as the Russian General Sikorsky, who also has some of the best lines.
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