The first time I watched it, I was 19 and I didn't get it. I found it superficial and boring and didn't get why critics where raving about this film. The second time I viewed I was 27 and apparently a new person. This film knock me down with so much easy and refinery that I carry it in my heart.
It's legitimately horrifying to watch this. It's like watching evil learning how exactly to be evil amidst a society of good. Haneke is well aware that he provides no solutions to this ubiquitous problem in the world. He merely presents it as something that is an inevitability, and there's nothing anyone can do to stop it. What's worse, the setting of this film lets us infer by the end that they'll flourish.
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.