Deal W. Hudson
February 28, 2019
Never Look Away tells kind of the story that invites superlatives and deserves them. Based upon the life of painter Gerhard Richter, it tells the story of an artist who lives through the Nazi horror and the communist stranglehold, then escapes to West Berlin where, after much trial and error, he earns success and recognition.
This narrative could have descended into kitsch, but Florian Henckel von Donnersmarck makes it entirely convincing. Max Richter’s score is so beautiful in places it nearly overwhelms the visuals, but that is offset by deft touches of Morricone-like dissonance and playfulness.
Never Look Away was released last year in Germany and has just opened in US theatres. At 3 hours and 9 mins, it should feel epic, but it doesn’t: World War II and the Cold War serve as background to a story which becomes more and more personal as it unfolds.
It begins with a teenager, Elizabeth May (Saskia Rosendahl), being taken away by the Nazis because the family doctor reported an episode when Elizabeth sat at the piano at home, completely naked, playing Bach. When asked why, she answered: “Playing a concert for the Führer.” Her younger brother, Curt (Tom Schilling, pictured with Paula Beer), is a young child when he witnesses his beautiful and charismatic sister taken away. Her last words to him are “Never look away”, a dictum which takes him 20 years to understand.
Curt marries Ellie Scheeben (played by Beer), the daughter of a respected doctor who is played by Sebastian Koch. Koch, who starred in Donnersmarck’s 2006 The Lives of Others, convinces as Dr Carl Scheeben, a gynecologist tapped by the Nazis to head the Court of Hereditary Health, making him responsible for choosing who is to be incarcerated, sterilised or killed. Very subtly, Koch allows a crack in his soul to be seen in his reaction to the order – he’s shocked but takes a deep breath and carries it out.
Tom Schilling makes the character of Curt intriguing: this is not just another confused artist, but one who seeks the “truth” in an era of lies. Donnersmarck includes a send-up of performance art that had the audience laughing out loud.
Curt endures much (spoiler alert), including the sight of his father, reduced to serving as a janitor, hanging from a rope. Curt’s talent is supported as long as he sticks to the “Timeless values of the people”, whether Nazi or communist. After escaping to West Germany, he meets an eccentric art professor, skilfully underplayed by Oliver Masucci, who recognises a bottled-up talent in need of some rough handling. Looking at Curt’s initial efforts, he says with near-bluntness: “This is not you.” Stung by the comment, Curt remembers what his sister Elizabeth said – “Never look away” – and then his true talent begins to emerge.