Underestimated at the time of its release, the film suffered comparison with its flashier predecessor Mephisto. Oberst Redl is tighter, more disciplined and subtle than Mephisto (which was too faithful to the novel on which it was based). Delicately threaded with recurring motifs of father/son relationships and the touch of hands in friendship, lust, play and paternal concern, Szabo's tight control of his material and of his actors, produces powerful explorations of personal desire and personal responsibility, climaxing in the most painfully realistic suicide in cinema. There are consummate acting performances from all the leading actors but especially from Armin Mueller-Stahl as the cynical and manipulative Archduke and Klaus Maria Brandauer, who seduces the camera and manages to make sympathetic a character consumed by ambition.
This film was probably underestimated because it needs repeated viewings to appreciate all its layers and nuances. It requires the audience to think, a satisfying exercise but unfortunately unpopular amongst many movie-goers. It is long overdue for reappraisal.
This film was probably underestimated because it needs repeated viewings to appreciate all its layers and nuances. It requires the audience to think, a satisfying exercise but unfortunately unpopular amongst many movie-goers. It is long overdue for reappraisal.