Labyrinth of Lies is a fictionalised take on the 5 year planning and lead-up to the 1963 - 65 Frankfurt Auschwitz trials where 22 defendants were charged under West German criminal law for their roles in the Holocaust as mid- to lower-level officials in the Auschwitz-Birkenau death and concentration camp complex. The crux of the tale ruminates over the roadblocks and travails faced by the small investigating prosecution team, as they attempt to build cases against suspects, who appear to be treated far too sympathetically, if not protected by the German establishment and bureaucracy, still apathetic about the role and actions of the Nazi Party during World War 2.
It is a handsome looking period piece with good production values and a fine central performance by Alexander Fehling playing the obviously fictional chief investigator Johann Radmann, who is appointed by the (real life) attorney - general Fritz Bauer. But unfortunately co-writer/director Giulio Ricciarelli doesn't really nail down a balanced and consistent storyline.
We are delivered a 2 hour+ film overloaded and weighed down with the challenges faced by the prosecutors. I for one had really got the message about the over-indulgent Nazi sentiment permeating the West German pre-1960's establishment before the first hour was up. I didn't really need to cop another hour of the same sort of stuff. Those hoping for a courtroom drama climax pay-off will be sorely disappointed, as the closing courtroom doors of the beginning trial ring in the final credits.
On top of this, despite the acknowledged good performance of Fehling, the weakest part of the narrative is the fictionalisation of the lead characters. Radmann is burdened with a rather insignificant on again, off again relationship with a fashion designer, during which he very predictably hits the bottle more than once, in the best Paul Newman Verdict tradition.
The storyline never really flows and is far too episodic in its nature. This is best illustrated in the opening where important supporting character Simon, is shocked to recognise that Schultz, a former Auschwitz tormentor, is a teacher at the local school. He wants him arrested, but then for the rest of the movie never fully cooperates with Radmann's team for vague reasons, that aren't made abundantly clear. Another strange occurrence occurs later in the film where Radmann, is openly hostile to his suddenly introduced visiting mother, as soon as she walks through the door of his office. it's a very odd sequence, that just seems out of place editing wise.
I think Ricciarelli would have been far better off, concentrating the story on the real life Fritz Bauer. In the movie he is an enigmatic supporting character, playing Radmann's boss and mentor. The movie seems happy to leave us wondering why he and he alone seems to be prepared to continually back Radmann and his team in the face of overwhelming opposition. Bauer's real story though, only hinted at in the the movie, is far more interesting than the invented fictional characters. Historically for instance, he, a German Jew, is given the credit for bringing the trials to life and bringing about permanent changes to the West German judicial system.
One can see how with noble intentions Labyrinth of Lies was offered up for consideration for a Best Foreign Language Academy Award nomination. But at the same time I can understand how it didn't rate a mention, as ultimately, it just doesn't nearly deliver the overall quality goods that a potential Oscar winner should.
It is a handsome looking period piece with good production values and a fine central performance by Alexander Fehling playing the obviously fictional chief investigator Johann Radmann, who is appointed by the (real life) attorney - general Fritz Bauer. But unfortunately co-writer/director Giulio Ricciarelli doesn't really nail down a balanced and consistent storyline.
We are delivered a 2 hour+ film overloaded and weighed down with the challenges faced by the prosecutors. I for one had really got the message about the over-indulgent Nazi sentiment permeating the West German pre-1960's establishment before the first hour was up. I didn't really need to cop another hour of the same sort of stuff. Those hoping for a courtroom drama climax pay-off will be sorely disappointed, as the closing courtroom doors of the beginning trial ring in the final credits.
On top of this, despite the acknowledged good performance of Fehling, the weakest part of the narrative is the fictionalisation of the lead characters. Radmann is burdened with a rather insignificant on again, off again relationship with a fashion designer, during which he very predictably hits the bottle more than once, in the best Paul Newman Verdict tradition.
The storyline never really flows and is far too episodic in its nature. This is best illustrated in the opening where important supporting character Simon, is shocked to recognise that Schultz, a former Auschwitz tormentor, is a teacher at the local school. He wants him arrested, but then for the rest of the movie never fully cooperates with Radmann's team for vague reasons, that aren't made abundantly clear. Another strange occurrence occurs later in the film where Radmann, is openly hostile to his suddenly introduced visiting mother, as soon as she walks through the door of his office. it's a very odd sequence, that just seems out of place editing wise.
I think Ricciarelli would have been far better off, concentrating the story on the real life Fritz Bauer. In the movie he is an enigmatic supporting character, playing Radmann's boss and mentor. The movie seems happy to leave us wondering why he and he alone seems to be prepared to continually back Radmann and his team in the face of overwhelming opposition. Bauer's real story though, only hinted at in the the movie, is far more interesting than the invented fictional characters. Historically for instance, he, a German Jew, is given the credit for bringing the trials to life and bringing about permanent changes to the West German judicial system.
One can see how with noble intentions Labyrinth of Lies was offered up for consideration for a Best Foreign Language Academy Award nomination. But at the same time I can understand how it didn't rate a mention, as ultimately, it just doesn't nearly deliver the overall quality goods that a potential Oscar winner should.