october-2012
october-2012
october-2012
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WHY SO SERIOUS?<br />
Moritz Bleibtreu is about to blow his image as Germany’s favourite screen<br />
nice guy. His latest fi lm, action thriller Schutzengel (Guardian Angel), throws<br />
the spotlight on a rarely discussed issue: German veterans of modern wars<br />
Bleibtreu brilliert in der<br />
tiefgehenden Rolle eines<br />
deutschen Soldaten<br />
Bleibtreu brings<br />
emotional depth to his<br />
portrayal of a disabled<br />
former soldier in<br />
Schutzengel<br />
German cinema-goers<br />
love Moritz Bleibtreu.<br />
Ever since Run Lola Run<br />
back in 1998 he has been a<br />
regular face on the German fi lm<br />
scene, playing humorous, niceguy<br />
roles with charismatic,<br />
down-to-earth charm. As he<br />
says himself, he’s not really your<br />
typical bad guy. So when he does<br />
play a villain, he’s all the more<br />
compelling: he was mesmerising<br />
as 70s terrorist Andreas Baader<br />
in 2008’s The Baader Meinhof<br />
Complex and won a similar part<br />
in Spielberg’s Munich (2005).<br />
His latest performance in Til<br />
Schweiger’s Schutzengel<br />
(currently on general release in<br />
Germany) will only add to his<br />
reputation for darker roles. The<br />
movie addresses modern<br />
Germany’s attitude to war.<br />
Schweiger – as usual taking the<br />
roles of producer, director and<br />
star – plays a retired Special<br />
Forces soldier, charged with the<br />
protection of an orphan (played<br />
by Schweiger’s daughter, Luna)<br />
who’s witnessed a murder. The<br />
story may not be entirely<br />
original, but the fi lm focuses on<br />
a subject that is rarely discussed<br />
in the German media: the fact<br />
that the country’s soldiers are<br />
currently at war in Afghanistan.<br />
It’s brought to the fore by<br />
Bleibtreu’s character, former<br />
soldier and amputee Rudi.<br />
M O R I T Z B L E I B T R E U<br />
Talking in his adopted city of<br />
Hamburg, Bleibtreu stubs out a<br />
cigarette and leans back in his<br />
chair: ‘War isn’t exactly talked<br />
about much in Germany, for<br />
obvious reasons. We tend to<br />
associate the word “veteran” fi rst<br />
and foremost with America.’ It’s<br />
this German discomfort at their<br />
country being ‘at war’ that the<br />
fi lm broaches. When Til<br />
Schweiger’s character talks<br />
about ‘the war in Afghanistan’,<br />
GW—83