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TAKING SIDES Send This Review to a Friend
Hungarian director István Szabó ("Mephisto," "Colonel Redl" and "Sunshine") can be counted upon to make films that probe demanding subjects, and he is back with "Taking Sides," a powerful drama that examines the question of personal responsibility in relation to tyranny that one might oppose at great risk or appease by going with the flow. The subject is the interrogation of renowned German conductor Wilhelm Furtwängler by the U.S. Army after World War II. The issue is whether he should be punished for performing during the Nazi regime and thus become a showcase for Hitler in the appropriation of German culture by the Nazis.
Ronald Harwood scripted "Taking Sides" based on his own play, which I saw in London and New York. The film seems stronger, mainly as a result of a rigorous performance by Harvey Keitel as Major Arnold, the interrogating officer. Keitel brings a fierce indignation to what the Nazis have done and he is not about to excuse the conductor if he can help it. Arnold mocks efforts by members of the orchestra called as witnesses to justify the conductor's continuation of his performances and point out that he has been known for saving some Jews from persecution. When it comes to Furtwängler himself, Arnold viciously humiliates him.
Stellan Skarsgärd is stoic as the conductor in the face of the assault in a performance that sharply contrasts with that of his questioner, at least until he can take it no more. As an acclaimed artist, he believes he has done no wrong and he takes enormous pride in his reputation. Should he have publicly opposed Hitler? Or was he right to remain in his country that he loved and make the best of a bad situation.
The film tilts toward condemnation more than I recall the case on stage, but still, "Taking Sides" doesn't have glib answers. Moritz Bleibtreu and Birgit Minichmayr add effectiveness as Arnold's assistants who have feeling for Furtwängler.
The movie version is able to give more of a sense of place than the play can by showing the destruction and the rubble and putting the interrogation in that context. Lajos Koltai's cinematography and Ken Adam's production design are important in that respect.
"Taking Sides," dramatically compelling, provides food for thought and again raises the uneasy question of what others may or may not do if subjected to the test. Szabó has come through with another important film in his impressive line of accomplishments. A New Yorker Films release.
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