Taking Sides
After the end of World War II, a famous German conductor is accused of loyalty to the Nazi regime. He argues that art and politics are separate. An investigator thinks otherwise. In Berlin at the end…
Taking Sides
After the end of World War II, a famous German conductor is accused of loyalty to the Nazi regime. He argues that art and politics are separate. An investigator thinks otherwise. In Berlin at the end of World War II, Wilhelm Furtwängler (Stellan Skarsgård) is conducting Ludwig van Beethoven's 5th Symphony when yet another Allied air raid stops the performance. A minister in the Nazi government comes to Furtwängler's dressing room to advise him that he should go abroad, and escape the war. The film then jumps to some time after the Allied victory. U.S. Army General Wallace (R. Lee Ermey) tells Major Steve Arnold (Harvey Keitel) to "get" Furtwängler at his denazification hearing: "Find Wilhelm Furtwängler guilty. He represents everything that was rotten in Germany." Arnold gets an office with Lt. David Wills (Moritz Bleibtreu), a German-American Jew, and Emmaline Straube (Birgit Minichmayr), daughter of an executed member of the German resistance. Arnold questions several musicians, many of whom know Emmaline's father and say that Furtwängler refused to give Adolf Hitler the Nazi salute. Arnold begins interrogating Furtwängler, asking why he didn't leave Germany in 1933 like so many other musicians. Why he had played for Hitler's birthday? Why he had played at a Nazi rally? Why his recording of Anton Bruckner's 7th Symphony was used on the radio after Hitler's death? Arnold gets a second violinist to tell him about Furtwängler's womanizing and the conductor's professional jealousy of Herbert von Karajan. In a subplot, Arnold is assisted by a young Jewish U.S. Army lieutenant. The young officer begins to have sympathy for the conductor, as does the young German woman who works as a clerk in their office. This causes friction between Arnold and his subordinates. In a voice-over, Arnold explains that Furtwängler was exonerated at the later hearings but boasts that his questioning "winged" him. Footage of the real Furtwängler shows him shaking hands with Propaganda Minister Joseph Goebbels after a concert. The conductor surreptitiously wipes his hands with a cloth after touching the Nazi. A tale based on the life of Wilhelm Furtwangler, the controversial conductor of the Berlin Philharmonic whose tenure coincided with the controversial Nazi era. One of the most spectacular and renowned conductors of the 1930s, Furtwangler's reputation rivalled that of Toscanini's. After the war, he was investigated as part of the Allies' de-Nazification program. In the bombed-out Berlin of the immediate post-war period, the Allies slowly bring law and order, and justice, to bear in an occupied Germany. An American Major is given the Furtwangler file, and is told to find everything he can and to prosecute the man ruthlessly. Tough and hard-nosed, Major Steve Arnold sets out to investigate a world of which he knows nothing. Orchestra members vouch for Furtwangler's morality. He did what he could to protect Jewish players from his orchestra. To the Germans, deeply respectful of their musical heritage, Furtwangler was a demigod; to Major Arnold, he is just a lying, weak-willed Nazi. —Sujit R. Varma
Taking Sides
Drama,History,Music
Film Details
After the end of World War II, a famous German conductor is accused of loyalty to the Nazi regime. He argues that art and politics are separate. An investigator thinks otherwise.
In Berlin at the end of World War II, Wilhelm Furtwängler (Stellan Skarsgård) is conducting Ludwig van Beethoven's 5th Symphony when yet another Allied air raid stops the performance. A minister in the Nazi government comes to Furtwängler's dressing room to advise him that he should go abroad, and escape the war. The film then jumps to some time after the Allied victory.
U.S. Army General Wallace (R. Lee Ermey) tells Major Steve Arnold (Harvey Keitel) to "get" Furtwängler at his denazification hearing: "Find Wilhelm Furtwängler guilty.
He represents everything that was rotten in Germany." Arnold gets an office with Lt. David Wills (Moritz Bleibtreu), a German-American Jew, and Emmaline Straube (Birgit Minichmayr), daughter of an executed member of the German resistance. Arnold questions several musicians, many of whom know Emmaline's father and say that Furtwängler refused to give Adolf Hitler the Nazi salute.
Arnold begins interrogating Furtwängler, asking why he didn't leave Germany in 1933 like so many other musicians. Why he had played for Hitler's birthday? Why he had played at a Nazi rally? Why his recording of Anton Bruckner's 7th Symphony was used on the radio after Hitler's death? Arnold gets a second violinist to tell him about Furtwängler's womanizing and the conductor's professional jealousy of Herbert von Karajan. In a subplot, Arnold is assisted by a young Jewish U.S.
Army lieutenant. The young officer begins to have sympathy for the conductor, as does the young German woman who works as a clerk in their office. This causes friction between Arnold and his subordinates.
In a voice-over, Arnold explains that Furtwängler was exonerated at the later hearings but boasts that his questioning "winged" him. Footage of the real Furtwängler shows him shaking hands with Propaganda Minister Joseph Goebbels after a concert. The conductor surreptitiously wipes his hands with a cloth after touching the Nazi.
A tale based on the life of Wilhelm Furtwangler, the controversial conductor of the Berlin Philharmonic whose tenure coincided with the controversial Nazi era. One of the most spectacular and renowned conductors of the 1930s, Furtwangler's reputation rivalled that of Toscanini's. After the war, he was investigated as part of the Allies' de-Nazification program.
In the bombed-out Berlin of the immediate post-war period, the Allies slowly bring law and order, and justice, to bear in an occupied Germany. An American Major is given the Furtwangler file, and is told to find everything he can and to prosecute the man ruthlessly. Tough and hard-nosed, Major Steve Arnold sets out to investigate a world of which he knows nothing.
Orchestra members vouch for Furtwangler's morality. He did what he could to protect Jewish players from his orchestra. To the Germans, deeply respectful of their musical heritage, Furtwangler was a demigod; to Major Arnold, he is just a lying, weak-willed Nazi.
—Sujit R. Varma.