The doctor, the pastor and the baron are all hideous men, but for me Klara takes the crown of the creepiest character in this film, because her bleakness and malice seem so hidden beneath the surface, its like you're witnessing a new generation of evil. Astonishing film on all aspects, two-and-a-half hours very well spent. The scene where the little boy is explained by his sister what Death is... so unforgettable.
White Ribbon opens itself narratively as a mystery, but the film doesn't develop as one. A story defined by its transitions, editing, and color. Each scene in the film is crafted both in frame and transition to show the connection between various acts of degradation / abuse and the cyclic nature of these events. Purity becomes corrupted, victims become predators, and Haneke solidifies himself as one of the greats.
A beautifully shot, yet truly unsettling and mysterious piece of classical filmmaking done for the modern era. With this film, Haneke brilliantly crafts a meticulous historical drama about a transformative period in German history. Recalling the works of Ingmar Bergman and Carl Th. Dreyer, we see Haneke in his most proficient and mature form as a writer/director. This film deserves all the accolades it receives.
This is an astonishing exercise on ideology and the many dangers it can bring to the perverted ones who follow their ideals to the extreme. To ask who did those crimes is to ask the wrong questions. This is not a mystery movie, even though it is genderized as such. And to think of the movie as a fascist meditation on society is to get "caught" in the very same message "The White Ribbon" transmits.
The film gradually fades in from blackness into a vivid black and white image of a man riding on a horse, and at the end, it slowly fades back into darkness. This is a film of redemption and uncertain guilt, a snapshot of one community in Germany just before the breakout of WW1, and the rich and the poor who live in it. There are hardships and human cruelties throughout. Simply a masterpiece of direction from Haneke!
Anche se ne riconosco ampiamente i pregi , è un film che non mi ha convinto sia per alcune scelte stilistiche ( il narratore fuori campo è di un fastidio allucinante) che concettuali ( incolpare un educazione rigida come potenziale causa della nascita del nazismo mi pare una forzatura)
Is Haneke a modern master, the kind of filmmaker bound to stand alongside the likes of cinema’s finest in the annals of movie history? This film would suggest so. He’s got the distinction, the craftsmanship, and the track record for it. “The White Ribbon” is the kind of grand arthouse aura that has close association with Bergman or Tarkovsky. It feels important without being a pretension.
Une oeuvre magnifique, troublante et troublée d'un des plus grands rigoristes du Septième Art, avec Carl Theodor Dreyer et Ingmar Bergman, qui constate à nouveau, comme dans chacun de ses films précédents, avec une indéniable efficacité, l'omniprésence de la violence dans la nature humaine, qu'aucune rédemption ne semble possible et que l'enfer est bien sur cette terre et nulle part ailleurs... www.cinefiches.com
Haneke doesn't pull any punches. He shows the growth of an ideology with no compassion and little love. The mixture of evil and innocence is heartbreaking. When the minister's son brings him a new bird to replace the one killed by his vengeful daughter it brings tears to his eyes, but he still can't grasp the message. Everyone is locked into a pattern of behavior that is self-destructive.
How hard it is to concern yourself with evil when there are banalities to be dealt with. How easy it is to passive-agressively punish instead of seeking a solution. A chilling, Bergman-esque depiction of the human fickleties behind all of histories horrors. If Haneke ever wants to remake another of his own films I would watch a mini-series of this story in no time.
Shot in beautiful black and white, this multiple award-winning film is a violent tale of pre-war oppression by the European upper classes, soon to be overthrown in one of the gravest incidents of the 20th Century. Lovely contrast, balance and purposefully "shy" camera work (allowing for character privacy, when needed) are eye candy; when coupled with a richly textured and engrossing story, the result is film heaven.
Plays like the most repressed, restrained, horror film you will ever see. Haneke is the ultimate killjoy, he refuses to indulge in cheap genre theatrics. The film is so quiet, so stifling that it makes you feel as though you can't breathe as you watch it. The black and white cinematography perfectly compliments Haneke's stark theater of cruelty. Authority's corrupt influence flowers as evil wears an innocent mask.
With clinical observation and organised spontaneity, Haneke constructs a psycho-socio-political Rube Goldberg machine that has been set to motion by forces beyond the individual capacities of his characters, and will inevitably lead to consequences that are now a part of our shameful past.