User Reviews

There is really very little you can criticize about a story when the story is true. The adaptation for the screen can come under scrutiny, but in this case there really is no cause for concern. It is a beautifully shot and crafted piece of cinema. Excellent Cast, and solid direction.

You are introduced to a view of history from a less common angle. The lives and story of people who opposed the rise of Nazi Germany from within. People who stood up to the fear, collusion, and general despair of the masses. Most too scared to fight back, choosing instead to lay low and hope for the best.

You can draw frightening parallels with the world today. Except we have social media to voice our anger and concerns at what we see as injustice. The tyrants and demigods around the world fight to block free speech on the internet just as Hitler and the SS did in Germany in the late 1930's and 40's. If you disagree with them you are wrong and risk being silenced and oppressed.

This film depicts the pre-internet world's attempt at quiet resistance. Slower, less reach, but still shows the importance of non conformity in the face of oppression. A valuable watch for all who love true stories, and perhaps particularly relevant at the moment.

Greetings again from the darkness. When war hits close to home, the grieving of surviving family members never ends. At the end of World War II, author Hans Fallada was given access to the Gestapo file of Otto and Elise Hampel. Fallada wrote a 1947 novel based on their story, and in 2009 it was translated to English for his bestseller "Every Man Dies Alone". Director Vincent Perez collaborated with Achim von Borries and Bettine von Borries to adapt the novel for the big screen.

Otto (Brendan Gleeson) and Elise (Emma Thompson) play a mostly quiet, working class couple who pay the ultimate price for a cause in which they don't believe. Their protest takes the form of a clandestine 2 person operation. They systematically distribute postcards with anti-Hitler messages … nearly 300 of the cards between 1940 and 1942. It's a drip campaign that takes the form of non-violent political resistance, and certainly rankles those of the Third Reich.

Daniel Bruhl plays Escherich, the Nazi officer put in charge of the investigation (labeled Operation: Hobgoblin). He is charged with finding the source of the cards and punishing those responsible. As the hunt drags on, Escherich is presented as a Nazi with a conscience, and bears the brunt of his superior's frustration, while living in as much fear as those he is chasing.

The film has a somber tone, and somehow never generates the tension or dread that this couple must have been dealing with on a daily basis for so long. In fact, Alexandre Desplat's score seems to fit a movie much more intense than what we are watching on screen. Mr. Gleeson delivers his usual grounded and believable performance despite a script that could have used a bit more potency. The film does deliver the always powerful message of having no regrets when you are standing up for what's right.

This is not a happy story. It is story that opens your eyes. We have talked about it a lot since. We felt like it was something that should be seen. I would recommend it for folks curious about that era and that place in time. It seems impossible now, but you know its not. Real life stories like this tell something more for me than the big picture story.

This film tells the story of a German middle aged couple, who lost their only son in the second world war. They start a postcard writing campaign, and leave anti government messages all around Berlin.

"Alone in Berlin" shows two seemingly insignificant individuals who risk their lives because they believe that they could change the society. The acting is very good, Emma Thompson and Brendan Gleeson are really wonderful in bringing their characters alive. The brief court room scene is very moving. The ending is very good, as it is an unexpectedly fulfilling ending. I did not see that change coming. I enjoyed watching it.

"Alone in Berlin" (German-French-British co-production; 2016 release; 105 min.) brings the story of a German couple, Otto and Anna. As the movie opens, we see a young German soldier running through the weeods, and he is shot and killed. The young man's parents, Otto and Anna, are informed by letter of his death, and they don't know how to cope with this tragic news. Eventually Otto decides to speak up against the Nazis, and Hitler in particular, by leaving provocative postcards (such as: "Hitler is a liar, Hitler is a killer") in prominent public places. Anna joins him in these potentially dangerous tasks. Eventually, the Nazis become aware of this, and a manhunt is started... At this point we're 15 min. into the movie, but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the latest movie from Swiss actor/writer/producer/director Vincent Perez. Here he takes what amounts to a footnote in the annals of WWII and makes it, or at least tries to make it, into an epic battle between an elderly couple and the Nazi establishment. At certain moments, in particularly later in the film, it works quite well. But there are too many times that the films truly feels staged, I mean you can practically hear the director yell "and.... ACTION!", and an entire street with 1940s cars comes alive. The lead performances by Emma Thompson (as Anna) and Brendan Gleeson (as Otto) are fine, as they bring a quiet dignity to this couple that is so outraged by the tragic death of their son. Incidentally, it isn't until the closing credits that we get confirmation this movie is based on true events, and Otto and Elise really did exist (why they changed the woman's name to Anna, is not clear to me). Still, when all is said and done, it feels to me like the movie didn't quite carry this to its full potential, and that's a shame.

I had heard of this movie, but never had a chance to see it in the theater. I did catch it recently on Showtime. If you are interested in WWII, even if only a footnote of it, I'd suggest you check this out, be it on TV or VOD, or on DVD/Blu-ray, and draw your own conclusion.

Once again, World War II turns up another true story of quiet valour to turn into a motion picture. At a time when Trump is pontificating about so called "fake news", here is a timely tale from history which centres on the battle against genuinely fake news: the Nazi propaganda machine.

After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,"Harry Potter and the Goblet of Fire") and Anna (Emma Thompson, "Saving Mr Banks") turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.

Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that's no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are 'alone in Berlin?

After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto's carpentry company is being encouraged "by the Fuhrer" to double and triple their output… of coffins.

More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanour and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl ("Rush") as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.

Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don't see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto's mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….

I can't finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. "Small" films like this tend to rather disappear into the woodwork for Oscar consideration, but here's a soundtrack that I think should be considered: (but what do I know… when "Nocturnal Animals" wasn't even nominated in one of the Oscar crimes of the century!).

In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I've seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos ("Amour"). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.

(For the full graphical review please visit http://bob-the-movie-man.com. Thanks!).

this is not a terrible movie, but it's hard to capture to real terror of Nazism. the book is a tough read but it's as near as I've seen to reality. the total fear of carrying out even the most trivial oppositional act. the certainty that your life is endangered if anyone knows what you're doing - even if it's your family. people always think they would have been in the resistance, but likely they wouldn't. this movie does a reasonable job of showing that only those with nothing to lose would even think about it.

War films are stories writ large about aggression between nations. Few of them explore small-scale human undercurrents of suppressed dissent inside the countries at war. Alone in Berlin (2016) does this by looking at an ordinary working-class couple and their compulsion to express feelings about Hitler's dictatorship at time where dissent meant certain death. It is also an essay on parental grief struggling to voice its pain of loss.

Based on real events, the story opens in a small flat in Berlin where Otto Quangel (Brendan Gleeson) and his wife Anna (Emma Thompson) learn that their son has died in battle. In a long marriage that is under strain, the news pushes them further apart as they cannot console each other in grief. Otto had encouraged his son to join the Nazi army and now Anna blames him for their loss. Desperate to voice his rage against Hitler's regime, he painstakingly writes postcards and secretly leaves them on stairwells and doorways where they can be seen by passers-by: he calls them "small grains of sand in Hitler's machine". Initially he keeps Anna away from his dangerous mission, but she insists on being involved and they both become clandestine resistance fighters whose weapons are simple messages about the evils of Nazism. They manage to write and distribute over 260 cards despite extensive investigative efforts to stop them. In the process, they resurrect their marital relationship. After almost two years of card-writing they are caught and together face Nazi justice.

This film has two parallel narratives that start in opposition and end in convergence: one is Otto and Anna's actions, the other is the investigation. The first is focused on the smallness of the couple's actions in contrast to the enormous risk they are taking, like a pair of mice squeaking at roaring lions. The filming, colour palette and period setting are drab and lifeless; the atmosphere is paranoid with suspicion and mistrust; and the acting is subdued and understated. Brendan Gleeson and Emma Thompson are actors with broad performance repertoires but here they are minimalist in expression and Spartan in dialogue, with much being conveyed through furtive glances or avoided eye-contact. It is a slow-moving story, observant of small details in an alienated world. This has the effect of amplifying the intensity of Otto and Anna's actions. Close-ups of a pen leaving a trail of outrage on a small white card become powerful portraits of bravery that are ultimately futile as most of the cards were handed in to authorities. The couple's nemesis is a young German investigator (Daniel Bruhl) who pursues his work with ideological fervour for the Fuhrer but whose success turns into the film's most devastating moments of despair.

This is a joyless story about humble heroism. Otto and Anna are emblematic of ordinary people dealing with tragedy and anger inside a world of fear and danger. Far from being mere victims, their small protests seriously unsettled the Nazi hierarchy and the closing scenes are a tribute to the power of their "small grains of sand".

There's no doubt that Rudolf Ditzen - or rather, Hans Fallada's book Every Man Dies Alone, or Alone in Berlin, is a masterpiece. This film 'adaptation' is far from it and is actually insulting the book and the true story and memory of Otto and Elise Hampel. A period drama set in Berlin during the heyday of Hitler's Nazi Party is an exceptionally ambitious, difficult and costly film to recreate, and the film maker and his team seem to me to have gone about this project in totally the wrong way - it's a confused jumble of priorities which negated the essence of the story and therefore the script completely lost sight of the intricacies and emotions of the real characters and the time in which they lived. The only real way to do justice to the novel is to serialise it as a television series; to explore the paranoia and the fear and the difficulties of living under the fascist regime, to show the poverty and hardship, the insidious mistrust of person for person, the degradation of society and the desperation of the inhabitants of Germany at that time. The film maker completely misses all of this, instead creating an atmosphere largely based on washed out colour and nothing being said. The costumes are far too neat and clean, everything is shiny and lovely and carefully placed, the casting is appalling - Emma Thompson, bless her, does pull in a good performance, but Brendan Gleeson plays himself as usual, and the detectives are just young boys completely out of their depth. And Depth is the biggest argument I have against this mockery of a great story ... there isn't any. It's superficial to say the least - only 10 percent of the characters from the original novel appear and the film maker pays little attention to those ten. It looks like it was filmed 'on the hoof' with very little thought for drama and direction, largely leaving it up to the mediocre actors to supply the viewer with the pathos needed. I wonder if when filming it more time was given over to style (which is largely inaccurate) than actual substance. This is not Alone in Berlin, it's simply a vacuous film that borrows a small idea from a truly dramatic, sad, and powerful real life story. Extremely disappointing and immature in every way.

Having come close to losing a son in Afghanistan I could entirely relate to the despair and cold anger at the lies and injustice, the central characters felt. I was overwhelmed with emotion and the movie stayed with me for days.

Both Emma Thompson and Brendan Gleeson turn in outstanding performances, as do a number of the supporting cast members. The film allows a window into the fear, shame, and hopelessness the German people must have felt, as the war progressed and the true reality of the impacts of allowing rampant thuggery, cruelty and bigotry into power, was revealed. Parallels perhaps to certain events going on in the world today?

Brendan Gleeson is an outstanding actor who depicts ' everyman' with authenticity. This movie being a case in point. Without any histrionics this movie delivers. The ending was unanticipated and well crafted. The fact that it is a true story only adds to its power. Highly recommended.

"You're to blame. You and your damn war! You and your damn fuhrer!"

There are countless films about the resistance during WWII. But I had never heard of a German resistance against the Nazi regime. I'm sure there were more German citizens who weren't set up with the affairs of the German Empire. Most likely they kept this to themselves out of fear for reprisals. Anna (Emma Thompson) and Otto Quangel (Brendan Gleeson), whose name was Hampel in real life, may have had an aversion to the regime in the first place because their son had to join the German army. That's beyond dispute. The day they received a letter with the news that their son was killed at the front, is a turning point for both. Anna starts mourning in a serene way, while Otto's rebellious nature takes over and his plan is to write compromising messages on postcards and leave them behind at random places in Berlin. In this way he's trying to make clear to others that the country they are living in, isn't such an ideal place. Even if there's only one person who starts a silent protest as well, Otto still will be convinced that he has succeeded in his plan. Just look at it as a revenge for the death of his son.

"Alone in Berlin" isn't exactly an action packed movie and progresses slowly. All you get to see the whole movie is how Otto writes down in a patiently way his protest lyrics on a postcard (with kid gloves and in a different style of writing), the callous way these two resistance fighters interact with each other and an investigating held by the young police inspector Escherich (Daniel Bruhl). Although I actually wondered which tactic the inspector had in mind so he could track down those who are responsible. All he did was looking endlessly at a city map of Berlin with a whole series of flags pinned on it. Each pin represented a found postcard. 285 Postcards, to be exact. And the only clue that Escherich has is the handwriting on the cards. A handwriting revealing certain characteristics of the writer. That's about it.

So besides a subplot about an old Jewish neighbor who's taken care of by the Quangel's if needed, one can only witness their silent protest and their relationship as a long married couple. A marriage with no affection and passion anymore. Even the letter about the death of their son, elicits no signs of any emotion. Despite the superb acting, it was all pretty boring. Even the use of English with a ridiculous sounding German accent, felt forced. This was obviously a strategic move, so they could put two big names on the payroll. "Alone in Berlin" does show that not all citizens were ardent supporters of Nazi Germany, but this one-man action ultimately had no influence on the rise of Adolf Hitler as we've learned in history classes. Eventually it was nothing more than a voice in the wilderness. Had they used the needles that indicated the places where the postcards were found, and planted those in Hitler's ass, it would have been more painful than this admirable action.

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Do you appreciate good acting? If so, you shouldn't miss "Alone In Berlin", an indie now playing at a few theaters in NYC. It features Emma Thompson and Brendan Gleeson as the Quangels, whose only son was killed in action fighting for the Nazis in WWII. They are heartbroken, but this is quickly replaced by anger and a sense of revenge for their loss. Otto (Gleeson) decides to print a series of anti-Nazi postcards and leave them at strategic public places around Berlin, but not in mailboxes or stuck in doors - that could mean death to the finder. Naturally, the Gestapo and SS are hot on his trail.

If Brendan Gleeson is the heart of the picture, Emma Thompson is its soul. She is fearful at first but then embraces Otto's dangerous idea and in the process finds renewed love for her husband. She is fiercely loyal and discovers courage she thought she didn't have. She is heartbreaking in her anguish over the loss of her son, and she and Gleeson elevate a pedestrian story to a must-see.

I wonder if at some point in production someone, in the old Hollywood tradition, should have yelled "Get me rewrite!", as the screenplay could have used a little 'punching up'. The story lacks some tension and suspense and relies on the two principals for success. And do they deliver. "Alone in Berlin" will be lost in the shuffle next year at Oscar time, which is a loss and a shame as both are deserving of an AA nom.

That's what this film shows us, as nazi fanaticism takes over Germany and people respond according to their values and courage.

It also showed that fanaticism isn't the only evil in society. A neighbour ransacks the Jewish woman's flat, denounces his neighbours to the police and even steals the bracelet off the wrist of the woman's body.

Emma Thompson and Brendan Gleason give the sort of performances we have come to expect from such masters of the trade.

Based on a true story this was a really good watch. Great performances from the cast. A very inspiring tale of ordinary German folk who stood up to Hitler and the Nazis in a quiet but yet challenging and brave way.

I hate reviews that say the book is better than the film. It is.

Watched this last night and while Thompson and Gleeson were excellent as the depressed couple at the centre of events, and the film was well mounted, I still felt it lacked some necessary tension. Think what a Hitchcock would have made of the suspense in placing 200-odd anti-Nazi cards in the midst of Hitler's regime, with detectives watching out and knowing what being caught would have meant! One would also have liked a little more friction and debate between the husband and wife, more justification for the eventual plan. Instead of real drama we had necessary and moving human dignity shown by the participants, even under dire circumstances; but we realise that dignity can take the viewer a certain way but then it needs something more. Also, while a satisfying demonstration of what effect even just a little gesture can have over a period of time (even though we inevitable wonder: who did retain the missing 18 cards? What did they think and do thereafter?) the ending, while no doubt providing a closing flourish, felt a-historical. Was such an extravagant gesture an accurate representation of events? Or did the makers feel the need to give the efforts and sacrifices of their heroes something of a tangible effect to live by? But even with such caveats and questions, this is a solid and enjoyable piece of work, and one which is worth a watch.

This brilliantly cast and acted film earns an excellent cinema manifestation because it's an impressive and important war experience story focused on two ordinary people in an inner city we all know will soon be torn apart as the war in Berlin ravages onto a bitter end.

Otto and Anna deserve the full focus of this film, which intimately and convincingly lets us into their lives, and brings out the tenacious courage of two ordinary Berliners,persevering in their personal vendetta against the monstrous war machine, pursuing at great personal risk their resistance against the hideous Nazi regime.

Alone in Berlin fully succeeds in conveying the ingrained personal pain turned into anger over the loss of the couple's son, and the acting of Emma Thompson and Brendon Gleeson brilliantly fulfils our expectations. A personal Nazi resistance story very well told that makes for highly recommended and compelling viewing.

Could not get past 5 minutes of this. The movie is set in Germany with everyone speaking English. Did not matter if a letter received was written in German, the actors spoke English. Unbelievable....totally. Just wasn't workable for me at all.