A man who has devoted his life to ferreting out "dangerous" characters is thrown into a quandary when he investigates a man who poses no threat in this drama, the first feature from German filmmaker Florian Henckel von… More A man who has devoted his life to ferreting out "dangerous" characters is thrown into a quandary when he investigates a man who poses no threat in this drama, the first feature from German filmmaker Florian Henckel von Donnersmarck. It's 1984, and Capt. Gerd Wiesler (Ulrich Mühe) is an agent of the Stasi, the East German Secret Police. Weisler carefully and dispassionately investigates people who might be deemed some sort of threat to the state. Shortly after Weisler's former classmate, Lt. Col. Grubitz (Ulrich Tukur), invites him to a theatrical piece by celebrated East German playwright Georg Dreyman (Sebastian Koch), Minister Bruno Hempf (Thomas Thieme) informs Weisler that he suspects Dreyman of political dissidence, and wonders if this renowned patriot is all that he seems to be. As it turns out, Hempf has something of an ulterior motive for trying to pin something on Dreyman: a deep-seated infatuation with Christa-Maria Sieland (Martina Gedeck), Dreyman's girlfriend. Nevertheless, Grubitz, who is anxious to further his career, appoints Weisler to spy on the gentleman with his help. Weisler plants listening devices in Dreyman's apartment and begins shadowing the writer. As Weisler monitors Dreyman's daily life, however (from a secret surveillance station in the gentleman's attic), he discovers the writer is one of the few East Germans who genuinely believes in his leaders. This changes over time, however, as Dreyman discovers that Christa-Maria is being blackmailed into a sexual relationship with Hempf, and one of Dreyman's friends, stage director Albert Jerska (Volkmar Kleinert), is driven to suicide after himself being blackballed by the government. Dreyman's loyalty thus shifts away from the East German government, and he anonymously posts an anti-establishment piece in a major newspaper which rouses the fury of government officials. Meanwhile, Weisler becomes deeply emotionally drawn into the lives of Dreyman and Sieland, and becomes something of an anti-establishment figure himself, embracing freedom of thought and expression. A major box-office success in Germany, Das Leben der Anderen (aka The Lives of Others) received its North American premiere at the 2006 Toronto Film Festival. ~ Mark Deming, Rovi
Consensus: Unlike more traditional spy films, The Lives of Others doesn't sacrifice character for cloak and dagger chases, and the performances (notably that by the late Ulrich Muhe) stay with you.