Fälscher, Die (2007)

Réalisateur:

Stefan Ruzowitzky

Writers:

Adolf Burger (book)
Stefan Ruzowitzky (screenplay)

Release Date:

22 mars 2007 (Germany)

Genre:

Drame | War

Accroche:

It takes a clever man to make money, it takes a genius to stay alive

Plot:

The Counterfeiters is the true story of the largest counterfeiting operation in history, set up by the Nazis in 1936...

Plot Keywords:

Nonlinear Timeline | Currency | Passport | Concentration Camp | Anti Semitism

Awards:

Won Oscar. Another 1 win & 8 nominations

Avis des utilisateurs:

laughter in the dark

US Showtimes:

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Ensemble

Karl Markovics	...	Salomon 'Sally' Sorowitsch
August Diehl	...	Adolf Burger
Devid Striesow	...	Sturmbannführer Friedrich Herzog
Martin Brambach	...	Hauptscharführer Holst
August Zirner	...	Dr. Klinger
Veit Stübner	...	Atze
Sebastian Urzendowsky	...	Kolya Karloff
Andreas Schmidt	...	Zilinski
Tilo Prückner	...	Dr. Viktor Hahn
Lenn Kudrjawizki	...	Loszek
Norman Stoffregen	...	Abramovic
Bernd Raucamp	...	KZ-Insasse Dusche
Gode Benedix	...	1. KZ-Insasse
Oliver Kanter	...	2. KZ-Insasse
Dirk Prinz	...	SS-Wache

Autre(s) titre(s) :

The Counterfeiters (Canada: English title) (USA) (new title)
Fälscher, Der (Austria) (working title)
The Counterfeiter (International: English title)
Faussaires, Les (Belgium: French title) (France) [fr]

MPAA:

Rated R for some strong violence, brief sexuality/nudity and language.

Durée:

98 min

Pays:

Austria | Germany

Langue:

Allemand | Russe | Anglais | Hébreu

Couleur:

Couleur

Aspect Ratio:

1.85 : 1

Son:

Dolby Digital

Classification:

Norway:15 | Czech Republic:12 | Finland:K-15 | Germany:12 | Hong Kong:IIB | Sweden:15 | Canada:14A (Ontario) | UK:15 | Ireland:15A | France:Unrated | Spain:13 | Australia:MA | South Korea:15 | Argentina:16 | USA:R

Emplacements De Pelliculage:

Monte Carlo, Monaco

Company:

Magnolia Filmproduktion

Anecdotes:

Austria's Official Submission to the Best Foreign Language Film Category of the 80th Annual Academy Awards (2008).

Goofs:

Continuity: When Solly and Burger are arguing in their sleeping quarters, Burger pulls down a bunk bed. In the next shot the bed is standing up.

Connexions De Film:

Featured in The 80th Annual Academy Awards (2008) (TV)

laughter in the dark

Salomon "Sally" Sorowitsch (Markovics) is a master counterfeiter, living a life of debauchery in pre-war Berlin, until his luck finally runs out, and he is captured and shipped out to the Mauthausen concentration camp. He witnesses the horrors of camp life; fellow prisoners are beaten, shot, and starved, but Sally, determined to survive, looks out for himself and uses his skills as an artist to secure a more comfortable lifestyle during his incarceration. After taking advantage of his talents, his superiors transfer him to Sachsenhausen, where he is to oversee the largest counterfeiting operation in history.

Here, Sally is provided with all the men and equipment he needs to crack the pound and the dollar; his criminal enterprises are now government funded. The price of failure is made clear, but the counterfeiters are also wary of the price of success, as once the currencies have been cracked, they will be surplus to requirements; their lives depend not only on their successes but also their failures.

This is where Burger (Diehl), the film's moral centre, comes into play. Unlike Sally, he sees the bigger picture, struggling to come to terms with the fact that while his work keeps him alive, it helps the Nazi war effort. Neither can he reconcile himself with the fact that while he lives in relative comfort other detainees, including his wife and children, live in squalor.

These moral dilemmas form the basis of the film, and in the face of the horrors of camp life, Sally tries to shrug them off with De Niro squints and smiles; the maxim that one must look after oneself is one repeated throughout the film. It's a very interesting idea, and it's one that is presented very well, both in terms of style and performance. The camera-work captures the bleak setting effectively, and the lead performances are uniformly excellent, but the use of tango for the score is inspired. The contrast between the music and the images adeptly complement the film's complicated moral tone. There is also a surprising amount of humour; while the bigger picture is indeed bleak, there are moments of comedy, and even if it is laughter in the dark, it is welcome and helps not only to carry the film along but humanise it and its characters.

The Counterfeiters is a very enjoyable film, which isn't something that can be said for many World War II "true stories". Its interesting exploration of adaptation and survival under extreme circumstances makes for an engaging story, and one that is definitely worth seeking out.