Pawel Pawlikowski's 'Fatherland' Review: A Masterly Film Exploring Identity and Family

Fatherland movie review: Black-and-white frames can be rendered either warm or cool, depending on what you’re going for. Pawel Pawlikowski manages to combine stateliness and intimacy in his signature look, where both those colours are given several shades of grey. As soon as ‘Fatherland’ (Cannes competition) begins, in which unfolds a fraught chapter of the famous author Thomas Mann’s life and times, we know we are back in Pawel territory. It is 1949. Mann (Hanss Zischer), who had fled Nazi Germany for the US, is back, readying for the Goethe prize to be conferred upon him. The film loses no time in setting the context: here is a man who has essentially given up on his country — not motherland; Hitler had turned it into fatherland, a paternalistic, authoritarian, murderous dictatorship — and is to be welcome back at a time when the recently-concluded war has drawn a line separating the East and West. Mann and his daughter Erika (Sandra Huller) are in Frankfurt which the Americans control. They are to journey to Weimar, which is under Russian control, to receive the prize. In the tight 82 minutes that follow, Pawlikowski once again gives us reasons to marvel, as he sets up conversations between warring ideals, peeling back the layers of Mann’s family dynamics, showing us the stark differences between capitalism and communism — Erika and a woman friend having a drink in a noisy bar in Frankfurt, which would never be possible in the glacial order of Weimar, with its citizens in service to the state. These are big ideas, but they never weigh the film down, even as tragedy strikes the father-and-daughter duo. They are given news of Mann’s son, and Erika’s twin brother Klaus’s (August Diehl) suicide, but that doesn’t derail any plans: they proceed with their itinerary, each grappling with that absence, wondering if they were present enough in Klaus’s life. Would it have made the crucial difference? And when Erika says, let’s go home, Mann’s response ‘where’s home’ is a reminder that you can never go home again. Fatherland movie review trailer: In stylistic terms, Fatherland could loosely be considered a trilogy with ‘Ida’ and ‘Cold War’, even if it’s the first time the Polish auteur has portrayed a version of real-life characters. The fissures are already evident in the post-War country, but both East and West Germany lay claim to great German son Goethe: when Mann is given a reverential tour of his home, we feel the weight of Goethe’s far-reaching influence. And then, immediately after, rigorous passport control checks question Mann’s identity: the young soldier, manning the checkpoint, has no idea of literary greats, whether it is a long dead 18th century icon, or the present living legend in front of him. In all this, Zischler’s Mann breaks the solemn air with a couple of light-hearted moments, telling us that high-minded authors can also be funny. Zischer is perfect for the role, as is Huller, cementing her growing reputation as an actor who can do anything: it is an irony not lost on us that her father’s actions have also forced her to choose between the land of her father, and her adoptive country. It is a masterly film, by a director whose precise gaze never strays from his goal, which allows us to feel the shreds of warmth between humans, even when so much has gone wrong. Fatherland movie cast: Sandra Huller, Hanss Zischler, August Diehl Fatherland movie director: Pawel Pawlikowski Fatherland movie rating: 4 stars