Re: The Lives of Others - and a MUST SEE film -- Mimetic Theory and Literary Study

[ Show ]

Support VoyForums

[ Shrink ]

VoyForums Announcement: Programming and providing support for this service has been a labor of love since 1997. We are one of the few services online who values our users' privacy, and have never sold your information. We have even fought hard to defend your privacy in legal cases; however, we've done it with almost no financial support -- paying out of pocket to continue providing the service. Due to the issues imposed on us by advertisers, we also stopped hosting most ads on the forums many years ago. We hope you appreciate our efforts.

Show your support by donating any amount. (Note: We are still technically a for-profit company, so your contribution is not tax-deductible.) PayPal Acct: Feedback:

Donate to VoyForums (PayPal):

[ Login ] [ Contact Forum Admin ] [ Main index ] [ Post a new message ] [ Search | Check update time | Archives: 1, [2] ]

[ Next Thread | Previous Thread | Next Message | Previous Message ]

Date Posted: 22:21:55 02/08/08 Fri
Author: Cara
Subject: Re: The Lives of Others - and a MUST SEE film
In reply to: Hwaet! 's message, "Re: The Lives of Others - and a MUST SEE film" on 15:17:43 02/07/08 Thu

I'll just add a couple of examples to those already mentioned. In the beginning of the movie, when the STASI officials all watch Dreymann's play, they are enraptured by it. Wiesler and his superior minister, whose name I can't remember, respond differently to their admiration of Dreymann's art. Wiesler begins imitating Dreymann clumsily, in the scene with the prostitute, by his useless attempt to connect and talk with her. Then, he catches on a little more, when he reads the book and hears the sonata. The bar scene is where he actually successfully appropriates Dreymann's love by persuading Christa not to meet his superior officer again.

While Wiesler acquires some of Dreymann's traits, this superior officer responds with rivalry, trying to steal his girlfriend. While one man's appropriations lead essentially to violence, the other's lead to a kind of redemption.

Also, throughout the movie, both Dreymann and Wiesler are constantly clacking on their typewriters; and eventually Wiesler's work does for Dreymann what Dreymann's did for Germany.

[ Next Thread | Previous Thread | Next Message | Previous Message ]