A Hidden Life (2019 film)
A Hidden Life Theatrical release posterDirected byTerrence MalickWritten byTerrence MalickProduced by Elisabeth Bentley Dario Bergesio Grant Hill Josh JeterStarring August Diehl Valerie Pachner Matthias SchoenaertsCinematographyJörg WidmerEdited by Rehman Nizar Ali Joe Gleason Sebastian JonesMusic byJames Newton Howard Production companies Elizabeth Bay Productions[1] Aceway Studio BabelsbergDistributed byFox Searchlight Pictures (United States) Pandora Film (Germany)[2] Release dates May 19, 2019 (Cannes)[3] December 13, 2019 (United States) Running time174 minutesCountries United States[4] Germany[4] AustriaLanguages English GermanBudget$7–9 million[5]Box office$4.6 million[2][6] |
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A Hidden Life is a 2019 epic historical drama film written and directed by Terrence Malick. It stars August Diehl, Valerie Pachner, and Matthias Schoenaerts, with Michael Nyqvist and Bruno Ganz in their final performances. The film depicts the life of Franz Jägerstätter, an Austrian farmer and devout Catholic who refused to fight for the Nazis in World War II.
The title is taken from George Eliot's Middlemarch:
The film premiered at the Cannes Film Festival in May 2019 and was theatrically released in the United States on December 13, 2019.[7] It received critical acclaim upon release and was the final feature film to be released under the Fox Searchlight Pictures name before Walt Disney Studios changed the company's name to Searchlight Pictures on January 17, 2020.
Plot
[edit]Austrian peasant farmer Franz Jägerstätter, born and brought up in the small village of St. Radegund, is working his land when war breaks out. Married to Franziska, colloquially Fani, the couple are important members of the tight-knit rural community. They live a simple life with the passing years marked by the arrival of the couple's three girls. Franz is called up for basic training in the German army and is away from his beloved wife and children for months. Eventually, when France surrenders and it seems the war might end soon, he is sent back from training.
With his mother and sister-in-law Resie, he and his wife farm the land and raise their children amid the mountains and valleys of upper Austria, cutting hay and gathering. As the war goes on, Jägerstätter and the other able-bodied men in the village are called up to fight. Their first requirement is to swear an oath of allegiance to Adolf Hitler and the Third Reich. Despite pressure from the mayor and his neighbors, who increasingly ostracize him and his family, and from the Bishop of Linz, Jägerstätter refuses. Wrestling with the knowledge that his decision will mean arrest and even death, he finds strength in his faith in God, his prayers, and Fani's love and support. He is taken to prison, first in Enns, then in Berlin and waits months for his trial. During his time in prison, he and Fani write letters to each other and give each other strength. Fani and their daughters are victims of growing hostility in the village over her husband's decision not to fight. Fani is eventually able to visit her husband in Berlin.
After months of brutal incarceration, Jägerstätter's case goes to trial. He is found guilty and sentenced to death. Despite many opportunities to sign the oath of allegiance, and the promise of non-combatant work, he continues to refuse and is executed by the Third Reich on August 9, 1943, while his wife and daughters survive.
Cast
[edit]- August Diehl as Franz Jägerstätter
- Valerie Pachner as Franziska Jägerstätter
- Michael Nyqvist as Bishop Joseph Fliesser
- Jürgen Prochnow as Major Schlegel
- Matthias Schoenaerts as Captain Herder
- Bruno Ganz as Judge Werner Lueben
- Martin Wuttke as Major Kiel
- Alexander Fehling as Fredrich Feldmann
- Maria Simon as Resie
- Franz Rogowski as Waldland
- Tobias Moretti as Priest Ferdinand Fürthauer
- Ulrich Matthes as Lorenz Schwaninger
- Max Mauff as Sterz
- Johan Leysen as Ohlendorf
- Sophie Rois as Aunt
- Karl Markovics as Mayor
- Alexander Radszun as Executioner
- Joel Basman as Military Trainee
- Waldemar Kobus as Stein
- Johannes Krisch as Miller
Production
[edit]Development
[edit]On June 23, 2016, reports emerged that the film, then titled Radegund, would depict the life of Austria's Franz Jägerstätter, a conscientious objector during World War II who was put to death at age 36 for undermining military actions, and was later declared a martyr and beatified by the Catholic Church. It was announced that August Diehl was set to play Jägerstätter and Valerie Pachner to play his wife, Franziska Jägerstätter.[8] Jörg Widmer was appointed as the director of photography, having worked in all of Malick's films since The New World (2005) as a camera operator.
Writing
[edit]Malick said A Hidden Life would have a more structured narrative than his previous works: "Lately—I keep insisting, only very lately—have I been working without a script and I've lately repented the idea. The last picture we shot, and we're now cutting, went back to a script that was very well ordered." This makes it his first linear, plot-driven film since The New World (2005). He added, "There's a lot of strain when working without a script because you can lose track of where you are. It's very hard to coordinate with others who are working on the film. Production designers and location managers arrive in the morning and don't know what we're going to shoot or where we're going to shoot. The reason we did it was to try and get moments that are spontaneous and free. As a movie director, you always feel with a script that you're trying to fit a square peg into a round hole. And with no script, there's no round hole, there's just air. But I'm backing away from that style now."[9]
Malick obtained rights to the book Franz Jägerstätter: Letters and Writings from Prison, edited by Erna Putz, for the film.[10]
Filming
[edit]
The film began production in Studio Babelsberg in Potsdam, Germany in summer 2016. From 11 July to 19 August 2016 the production shot on location in South Tyrol. Locations there were the church of St. Valentin in Seis am Schlern, the valley of Gsies, the village of Rodeneck, the mills in Terenten, the meadows of Albions in Lajen, the Seiser Alm, the Taufers Castle, the Fane Alm in Mühlbach, the Puez-Geisler Nature Park, the renaissance Velthurns Castle in the village of Feldthurns, the Franzensfeste Fortress, the gardens of the bishop's Hofburg in Brixen and the Neustift cloister.[11][8]
In August 2016, reports emerged that some of the film's scenes were shot in the small Italian mountain village of Sappada.[12]
Post-production
[edit]Actor Franz Rogowski said in a March 2019 interview that no one knew how the film would turn out or when it would be released, considering that it had been in post-production for more than two years at that point. Rogowski added that Malick is "a director who creates spaces rather than produces scenes; his editing style is like that."[13]
Music
[edit]The film's score is by James Newton Howard and features violinist James Ehnes, who also performed Howard's violin concerto released in 2018.[14][15] It was released by Sony Classical Records on December 6, 2019. Of the score, Howard said, "It is a spiritual-sounding score ... Terry often spoke about the suffering inherent in love, and you feel yearning, suffering and love in that piece". The score features 40 minutes of original score mixed with selected classical works by Bach, Handel, Dvořák, Górecki, Pärt and others. It was recorded at Abbey Road Studios in London in one day in June 2018 with a 40-piece string section conducted by Pete Anthony with Shawn Murphy as score mixer.[16]
All music is composed by Howard, except where noted
| No. | Title | Length |
|---|---|---|
| 1. | "A Hidden Life" | 2:51 |
| 2. | "Israel in Egypt, HWV 54, Part I, No. 16 "Chorus: And Believed The Lord"" (George Frederick Handel, Simon Preston conducting the Choir of Christ Church Cathedral, Oxford and English Chamber Orchestra) | 4:25 |
| 3. | "Surrounded by Walls" | 2:53 |
| 4. | "Return" | 2:41 |
| 5. | "Indoctrination" | 2:12 |
| 6. | "Morality in Darkness" | 3:13 |
| 7. | "Love and Suffering" | 7:44 |
| 8. | "Tabula Rasa: II. Silentium" (Arvo Pärt, Jean-Jacques Kantorow conducting the Tapiola Sinfonietta) | 15:46 |
| 9. | "Hope" | 2:30 |
| 10. | "Descent" | 6:25 |
| 11. | "Czech Suite in D Major, Op. 39: I. Allegro Moderato" (Antonín Dvořák, Antoni Wit conducting the Polish National Radio Symphony Orchestra) | 3:54 |
| 12. | "Kleines Requiem für eine Polka, Op. 66: IV. Adagio Cantabile" (Henryk Górecki, Rudolf Werthen conducting the I Fiamminghi) | 6:25 |
| 13. | "Knotted" | 3:39 |
| 14. | "There Will Be No Mysteries" | 4:42 |
| Total length: | 69:30 | |
Not listed
- Henryk Górecki Symphony No. 3, Op. 36 – Lento-Cantabile
Release
[edit]A Hidden Life premiered in competition at the 72nd Cannes Film Festival on May 19, 2019.[17] The following day, Fox Searchlight Pictures acquired rights for the U.S. and several other regions for $12–14 million in a competitive situation that also included A24, Netflix, Paramount Pictures, Sony Pictures Classics, and Focus Features.[18][5][19] The film screened at the Vatican Film Library on December 4, 2019, with Malick making a rare public appearance to introduce the film.[20] It was released in limited release in the U.S. on December 13, 2019, followed by a wide release in January.[21]
Critical reception
[edit]On review aggregation website Rotten Tomatoes, the film holds an approval rating of 82% based on 234 reviews, with an average rating of 7.5/10. The site's critical consensus reads, "Ambitious and visually absorbing, A Hidden Life may prove inscrutable to non-devotees—but for viewers on Malick's wavelength, it should only further confirm his genius."[22] On Metacritic, the film has a weighted average score of 80 out of 100, based on 44 critics, indicating "generally favorable reviews".[23]
Peter DeBruge of Variety writes: "Whether or not he is specifically referring to the present day, its demagogues, and the way certain evangelicals have once again sold out their core values for political advantage, A Hidden Life feels stunningly relevant as it thrusts this problem into the light."[24]
Jägerstätter biographer Erna Putz was touched by the film's spirituality after a private screening in June 2019, saying that Malick had made an "independent and universal work". She also considered Diehl's and Pachner's performances to be accurate representations of who Franz and Franziska were ("Franz, as I know him from the letters, and Franziska, as I know from encounters").[25]
Accolades
[edit]| Award | Date of ceremony | Category | Recipient(s) | Result | Ref(s) |
|---|---|---|---|---|---|
| Alliance of Women Film Journalists | 2020 | Best Cinematography | Jörg Widmer | Nominated | |
| Austin Film Critics Association | January 7, 2020 | Austin Film Award | Terrence Malick | Won | [26] |
| Belgian Film Critics Association | 28 December 2020 | Grand Prix | A Hidden Life | Nominated | [27] |
| Cannes Film Festival | 25 May 2019 | François Chalais Prize | Terrence Malick | Won | [28] |
| Prize of the Ecumenical Jury | Won | [29] | |||
| Palme d'Or | Nominated | [17] | |||
| CinEuphoria Awards | 2020 | Best Film - International Competition | Grant Hill, Dario Bergesio, Josh Jeter, Elisabeth Bentley, Terrence Malick | Nominated | |
| Best Actor - International Competition | August Diehl | Nominated | |||
| Best Actress - International Competition | Valerie Pachner | Nominated | |||
| Denver Film Critics Society | January 14, 2019 | Best Adapted Screenplay | Terrence Malick | Nominated | |
| Diagonale | 2020 | Diagonale Grand Prize | Terrence Malick | Nominated | |
| Florida Film Critics Circle Awards | December 19, 2019 | Best Adapted Screenplay | Terrence Malick | Nominated | [30] |
| Best Cinematography | Jörg Widmer | Nominated | |||
| Georgia Film Critics Association Awards | January 10, 2020 | Best Picture | A Hidden Life | Nominated | |
| Best Cinematography | Jörg Widmer | Nominated | |||
| Hawaii Film Critics Society | January 13, 2020 | Best Cinematography | Jörg Widmer | Nominated | |
| Independent Spirit Awards | February 8, 2020 | Best Feature | Elisabeth Bentley, Dario Bergesio, Grant Hill and Josh Jeter | Nominated | [31] |
| International Film Music Critics Association | February 20, 2020 | Best Original Score For A Drama Film | A Hidden Life | Nominated | [32][33] |
| Film Music Composition of the Year | James Newton Howard | Nominated | |||
| Motion Picture Sound Editors | 2020 | Outstanding Achievement in Sound Editing - Sound Effects and Foley for Feature Film | Brad Engleking, Bob Kellough, David Forshee, Dusty Albertz, Bastien Benkhelil | Nominated | |
| MovieGuide Awards | February 24, 2020 | Most Inspiring Movie | A Hidden Life | Nominated | |
| Best Movie for Mature Audiences | A Hidden Life | Nominated | |||
| National Board of Review | December 3, 2019 | Top Ten Independent Films | A Hidden Life | Won | [34] |
| Phoenix Film Critics Society Awards | December 14, 2019 | Best Cinematography | Jörg Widmer | Nominated | |
| Romy Gala | 2020 | Favorite Actress | Valerie Pachner | Nominated | |
| San Francisco Film Critics Circle | December 16, 2019 | Best Cinematography | Jörg Widmer | Nominated | [35] |
| Women's Image Network Awards | 2020 | Actress Feature Film | Valerie Pachner | Nominated |
References
[edit]- ^ McCarthy, Todd (May 19, 2019). "'A Hidden Life': Film Review | Cannes 2019". The Hollywood Reporter. Valence Media. Retrieved May 24, 2019.
- ^ a b "A Hidden Life (2019)". Box Office Mojo. IMDb. Retrieved 23 February 2020.
- ^ "The Screenings Guide 2019". May 9, 2019. Retrieved May 9, 2019.
- ^ a b "A Hidden Life (2019)". British Film Institute. Archived from the original on November 15, 2020. Retrieved November 13, 2020.
- ^ a b D'Alessandro, Anthony (May 23, 2019). "The Epic Three-Year Journey Of Terrence Malick's 'A Hidden Life': Can Disney-Fox Searchlight Improve Auteur's B.O. Track Record? – Cannes". Deadline Hollywood. Retrieved May 23, 2019.
- ^ "A Hidden Life (2019)". The Numbers. Retrieved February 23, 2020.
- ^ "Cannes festival 2019: full list of films". The Guardian. Retrieved 18 April 2019.
- ^ a b "Terrence Malick Announces Next Film 'Radegund,' Based on the Life of Franz Jägerstätter". The Film Stage. 2016-06-22. Retrieved 23 June 2016.
- ^ Sharf, Zack (6 April 2017). "Terrence Malick Vows to Return to More Structured Filmmaking: 'I'm Backing Away From That Style Now'". IndieWire. Retrieved 27 June 2017.
- ^ Pacatte, Rose (20 May 2019). "Terrence Malick's new film about Franz Jägerstätter premieres at Cannes". National Catholic Reporter. Cannes, France: The National Catholic Reporter Publishing Company. Retrieved 30 July 2019.
- ^ "La IDM FF & Commission a Cannes con Malick". Cinecittà News. 16 May 2019. Retrieved 13 August 2019.
- ^ "Trailer For 'The Thin Red Line' Restoration Arrives as Terrence Malick Commences 'Radegund' Shoot". The Film Stage. 11 August 2016. Retrieved 14 August 2016.
- ^ Elfadl, Murtada (9 March 2019). "Franz Rogowski on Playing a Ghost in 'Transit,' Disorienting the Audience, and Terrence Malick's 'Radegund'". The Film Stage. Retrieved 12 March 2019.
- ^ "UNE VIE CACHÉE". Orange Studio. Orange Studio. Archived from the original on 23 June 2019. Retrieved 18 April 2019.
bande originale : James Newton Howard
- ^ "One Big Soul, The Terrence Malick Community". Facebook. Retrieved 18 April 2019.
- ^ Burlingame, Jon (December 6, 2019). "From "1917" to "Jojo Rabbit," Composers of Some of the Year's Top Scores Talk Shop". Variety. Variety Media, LLC. Retrieved December 8, 2019.
- ^ a b Tartaglione, Nancy; Wiseman, Andreas (April 18, 2019). "Cannes Film Festival 2019 Lineup: Malick, Almodovar, Dardennes; Four Women Directors In Competition – Full List". Deadline Hollywood. Retrieved April 18, 2019.
- ^ Keslassy, Elsa; Lang, Brent (May 20, 2019). "Cannes: Fox Searchlight Nabs Terrence Malick's 'A Hidden Life'". Variety. Variety Media, LLC. Retrieved May 20, 2019.
- ^ Siegel, Tatiana (20 May 2019). "Fox Searchlight Lands Terrence Malick's World War II Drama 'A Hidden Life' for $14M". The Hollywood Reporter. Retrieved 19 February 2025.
- ^ "Terrence Malick's 'A Hidden Life' Gets Rare Vatican Screening". The Hollywood Reporter. 5 December 2019.
- ^ D’Alessandro, Anthony (June 27, 2019). "Terrence Malick's 'A Hidden Life' Lands Year-End Awards Season Release". Deadline Hollywood. Retrieved June 27, 2019.
- ^ "A Hidden Life (2019)". Rotten Tomatoes. Fandango. Retrieved October 10, 2021.
- ^ "A Hidden Life Reviews". Metacritic. CBS Interactive. Retrieved January 5, 2020.
- ^ DeBruge, Peter (May 19, 2019). "Cannes Film Review: 'A Hidden Life'". Variety. Variety Media, LLC. Retrieved August 13, 2019.
- ^ "Berührende private Vorführung des Jägerstätter-Films "A Hidden Life" in St. Radegund". Katholische Kirche in Oberösterreich (in German). Diözese Linz Kommunikationsbüro. June 4, 2019. Retrieved July 30, 2019.
„Beide Hauptpersonen sind sehr gut getroffen – Franz, wie ich ihn aus den Briefen kenne, und Franziska, wie ich sie aus Begegnungen kenne" ... habe Malick ein „eigenständiges und allgemeingültiges Werk" erschaffen
- ^ Stoddard, Elizabeth (January 7, 2020). "2019 Awards". Austin Film Critics. Retrieved 2022-12-20.
- ^ "Les critiques belges élisent "1917" meilleur film de l'année". Madame fait son Cinéma (in French). December 28, 2020. Retrieved December 30, 2020.
- ^ "72nd Annual Cannes Film Festival Held In Cannes, France From 14 To 25 May 2019". May 29, 2019. Retrieved June 7, 2019.
- ^ Oubrayrie, Edward. "Le Prix du Jury œcuménique 2019 décerné à 'A Hidden Life'". Jury oecumenique au Festival de Cannes. Retrieved 7 June 2019.
- ^ Neglia, Matt (December 23, 2019). "The 2019 Florida Film Critics Circle (FFCC) Winners". Next Best Picture. Retrieved December 3, 2019.
- ^ Lewis, Hilary (November 21, 2019). "Film Independent Spirit Awards: 'Uncut Gems,' 'The Lighthouse' Lead Nominations". The Hollywood Reporter. Retrieved December 20, 2022.
- ^ "'IFMCA Award Nominations 2019'". Film Music Critics. February 6, 2020. Retrieved March 24, 2020.
- ^ "IFMCA Award Winners 2019". International Film Music Critics Association. February 20, 2020. Retrieved March 24, 2020.
- ^ "2019 Archives". National Board of Review. Retrieved December 20, 2022.
- ^ "SFBAFCC 2019 Awards". sfbafcc.com. Retrieved 20 December 2022.
External links
[edit]
- 2019 films
- 2019 independent films
- 2010s prison drama films
- American prison drama films
- Cultural depictions of Austrian people
- Films about farmers
- Films directed by Terrence Malick
- Films scored by James Newton Howard
- Films produced by Grant Hill (producer)
- Films set in 1939
- Films set in 1941
- Films set in 1943
- Films set in Austria
- Films set in Berlin
- Fox Searchlight Pictures films
- English-language German films
- German drama films
- World War II films based on actual events
- Films about anti-fascism
- Films about Catholicism
- Films about Christianity
- Anti-war films about World War II
- Anti-war films
- 2019 drama films
- 2010s American films
- 2010s German films
- Films about Austrian resistance
- American epic films
- American independent films
- German epic films
- German independent films
- Films shot at Babelsberg Studios
- Films shot in Trentino-Alto Adige/Südtirol
- Films about Christian saints
- Films about Catholic saints
이름도 없는 평생
| 이름도 없는 평생 | |
|---|---|
| A Hidden Life | |
| 감독 | 테렌스 마릭 |
| 각본 | 테렌스 마릭 |
| 제작 | 엘리자베스 벤트리 다리오 베르제시오 그랜트 힐조슈 지터 |
| 출연자 | 아우구스트 딜 발레리 퍼프너 판 미카엘 닉비스트 유르겐 프로호노푸마티아스 수 나르츠 브루노 건츠 |
| 음악 | 제임스 뉴턴 하워드 |
| 촬영 | 예르크 비토머 |
| 편집 | 레이맨 니잘 존스 |
| 제작회사 | Elizabeth Bay Productions Aceway 스튜디오 바벨스베르크 |
| 배급 |  폭스·서치라이트·픽처스 판도라 ·필름 월트·디즈니·재팬  |
| 공개 | 2019년 12월 13일 [ 1 ] 2020년 1월 30일 2020년 2월 21일 [ 2 ] |
| 상영시간 | 173분 |
| 제작국 | 미국 독일 |
| 언어 | 영어 , 독일어 |
| 흥행 소득 |  $1,730,597 [ 3 ] $4,607,462 [ 3 ] 2000만엔 [ 4 ] |
『 이름도 없는 생애』(나모나키 생강, A Hidden Life )는 2019년 미국 · 독일 의 전기 영화 . 테렌스 마릭 감독. 출연은 아우구스트 딜 , 발레리 퍼프너 등. 또, 미카엘 닉비스트 , 브루노 건츠 는 이것이 유작이 되었다 [ 5 ] .
제2차 세계대전 중 나치 독일 에 병합된 오스트리아를 무대로 양심적 병역 거부 의 입장에서 거듭되는 종군 명령과 나치의 군문에 내린 교회의 지시에 따르지 않고 오로지 자신의 신념과 아내와 딸에 대한 사랑에 살고 36세에 처형된 실재의 농부 프란츠 . 예거 슈테터 는 가톨릭 교회 의 순교자이자 복자입니다.
제72회 칸 국제영화제 대회에 출품되어 [ 6 ] , 에큐메니컬 심사위원상 과 프란소와 샤레상을 수상했다 [ 7 ] [ 8 ] [ 9 ] [ 10 ] .
덧붙여 본작을 미국에서 배급을 담당한 폭스·서치라이트·픽처스는 2020년 1월 17일에 사명을 서치라이트·픽처스 로 변경했다. 그 때문에, 본작이 폭스·서치라이트·픽처스 명의로 배급을 담당한 마지막 영화 작품이 되었다 [ 11 ] .
스토리
[ 편집 ]
1939년 오스트리아의 아름다운 산악 마을. 여기서 농업을 영위하는 경건한 가톨릭교 도 프란츠는 아내 파니나 3명의 딸들과 온화한 생활을 보내고 있다. 어느 날 프란츠에게 소집 영장이 도착하지만 그는 "죄없는 사람을 죽일 수 없다"고 히틀러에 대한 충성을 거부하고 병역을 거부한다. 사제는 “총살형이 되기 때문에 가족을 위해서도 다시 생각해라”고 주교는 “하나님이 주신 자유의지, 조국에 대한 의무가 있다. 프란츠의 소문은 마을 안에 퍼져, 마을 사람들은 위험 인물처럼 보이고 배신자라고 불리며 일가하여 고립을 깊게 한다. 그러나 그의 결의는 단단하고, 파니도 그 의지를 지지하는 각오를 결정한다. 1943년 3월, 프란츠는 군부 기지에 출두하여 충성 선서를 거부했기 때문에 즉시 수감된다. 사제는 "저항해서 무엇이 된다. 얻는 것은 없다"고 촉구하고 변호사는 "병원의 잡용계에게도"라고 "형식적인 타협"을 권하지만, "잘못이라고 믿고 있는 것은 할 수 없다"고 열심히 거부한다. 군사법정에서 사형의 판결이 나온다. 파니는 변호사와 사제와 함께 면회하고 집행유예신청을 갖지만 거부되고 남편의 결의의 딱딱함을 알게 된 파니는 “사랑한다. 정의를 관철해 달라”고 받아들인다. 같은 해 8월 형이 집행되어 마을에는 종소리가 울려 퍼져 마을 사람들은 그를 위해 기도를 바쳤다. 더 이상 아무도 그를 “배신자”라고 부르지 않는다.
캐스트
[ 편집 ]※괄호 안은 일본어 혼성 성우.
- 프란츠 예거 슈테터 : 아우구스트 딜 ( 미야모토 미츠루 )
- 프란치스카 예거 슈테터: 발레리 퍼프너 (朴璐美)
- 헬더 대위 : 마티아스 수나르츠 ( 모리타 준헤이 )
- 요제프 플라이서 주교 : 미카엘 닉 비스트 ( 스가 다카유키 )
- 슈레겔 소령 : 유르겐 프로호 노프
- 루벤 판사:브루노 간츠 ( 코지마 토시히코 )
- 킬 소령 : 마르틴 부토케
- 레지 : 마리아 시몬 ( 우에다 하루미 )
- 발트란토 : 프란츠 로고프 스키
- 페르디난드 퓌타우어 사제 :토비아스 모레티
- 로렌츠 슈바닝거 : 울리히 마테스
- 촌장 : 칼 마르코 빅스
작품 평가
[ 편집 ]Rotten Tomatoes 에 의하면 비평가의 일치한 견해는 “야심적이고 시각적으로 매력적인 '이름없는 생애'는 팬이 아닌 자에게는 불가해한 것이 되어 있을지도 모르지만, 마릭의 파장에 맞는 관객에게는 그의 천재성을 더욱 확인할 뿐인 것 같다.” 8 평균점은 10점 만점 중 7.4점으로 되어 있다 [ 12 ] . Metacritic 에 의하면, 43건의 평론 중, 고평가는 36건, 찬반 혼재는 7건, 저평가는 없고, 평균점은 100점 만점중 78점이 되고 있다 [ 13 ]
A Hidden Life
Drama173 minutes ‧ PG-13 ‧ 2019
Matt Zoller Seitz
December 13, 2019
10 min read
Terrence Malick’s “A Hidden Life,” the true story of a World War II conscientious objector, is one of his finest films, and one of his most demanding.
August Diehl stars as Franz Jägerstätter,
- a modest, real-life hero of a type rarely celebrated on film.
- He wasn’t a politician, a revolutionary firebrand, or even a particularly extroverted or even verbose man.
- He just had a set of beliefs and stuck with them to the bitter end.
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O'Dessa: Yer Tha One
There was only one way that this story could end, as fascist dictatorships don’t take kindly to citizens refusing to do as they’re told. Franz Jägerstätter was inspired by Franz Reinisch, a Catholic priest who was executed for refusing to swear allegiance to Hitler, and decided he was willing to go out the same way if it came to that. It came to that.
The film begins in 1939, with a newsreel montage establishing Hitler’s consolidation of power. Franz lives in the small German Alpine village of St. Radegund with his wife Franziska, nicknamed “Fani” (Valerie Pancher), and their younger daughters, eking out a meager living cutting fields, baling hay, and raising livestock. Franz is drafted into the German army but doesn’t see combat. When he’s called up again—in 1943, at which point he and his wife have children, and Germany has conquered several countries, killed millions, and begun to undertake a campaign of genocide that the German people were either keenly or dimly aware of—Franz decides his conscience won’t permit him to serve in combat. He objects to war generally, but this one in particular.
It’s not an easy decision to make, and Malick’s film gives us a piercing sense of what it costs him. The effect on Franz’s marriage is complex: apparently he was an apolitical person until he met Fani, and became principled and staunch after marrying her. Now she’s in the agonizing position of suggesting that Franz not put into action the same values he’s proud of having absorbed from her, and that she’s proud of having taught him by way of example. If Franz sticks to his guns, so to speak, he’ll end up in jail, tortured, maybe dead, depriving her of a husband, their children of a father, and the household of income, and subjecting the remains of their family to public scorn by villagers who worship Hitler like a God, and treat anyone who refuses to idolize him as a heretic that deserves jail or death.
The situation is one that a lesser film would milk for easy feelings of moral superiority—it’s a nice farmer vs. the Nazis, after all, and who doesn’t want to fantasize that they would have been this brave in the same predicament?—but “A Hidden Life” isn’t interested in push-button morality. Instead, in the manner of a theologian or philosophy professor, it uses its story as a springboard for questions meant to spark introspection in viewers. Such as: Is it morally acceptable to allow one’s spouse and children to suffer by sticking to one’s beliefs? Is that what’s really best for the family, for society, for the self? Is it even possible to be totally consistent while carrying out noble, defiant acts? Is it a sin to act in self-preservation? Which self-preserving acts are acceptable, and which are defined as cowardice?
We see other people trying to talk Franz into giving up, and there’s often a hint that his willingness to suffer makes them feel guilt about their preference for comfort. When Franz discusses his situation early in the story with the local priest, he’s not-too-subtly warned that it’s a bad idea to oppose the state, and that most religious leaders support Hitler; the priest seems genuinely concerned about Franz and his family, but there’s also a hint of self-excoriation in his troubled face. A long, provocative scene towards the middle of the movie—by which point Franz is in military jail, regularly being humiliated and abused by guards trying to break him—a lawyer asks Franz if it really matters that he’s not carrying a rifle and wearing a uniform when he still has to shine German soldiers’ shoes and fill up their sandbags. Everywhere Franz turns, he encounters people who agree with him and say they are rooting for him but can’t or won’t take the additional step of publicly refusing to yield to the the Nazi tide.
The film’s generosity of spirit is so great that it even allows some of the Nazis to experience moments of doubt, even though they’re never translated into positive action—as when a judge (the late, great Bruno Ganz, in one of his final roles) invites Franz into his office, questions him about his decisions, and thinks hard about them, with a disturbed expression. After Franz gets up from his chair and leaves the room, the judge takes his seat and looks at his hands on his knees, as if trying to imagine being Franz.
That, of course, is the experience of “A Hidden Life,” a film that puts us deep inside of a situation and examines it in human terms, rather than treating it a set of easy prompts for feeling morally superior to some of the vilest people in history. What’s important here is not just what happened, but what the hero and his loved ones were feeling while it happened, and the questions they were thinking and arguing about as time marched on.
What makes this story an epic, beyond the fact of its running time, is the extraordinary attention that the writer-director and his cast and crew pay to the mundane context surrounding the hero’s choices. As is always the case in Malick’s work, “A Hidden Life” notes the physical details of existence, whether it’s the rhythmic movements of scythes cutting grass in a field, the shadows left on walls by sunlight passing through trees, or the way a young sleeping child’s legs and feet dangle as her father carries her. In a manner reminiscent of “Days of Heaven,” a great film about labor, Malick repeatedly returns to the ritualized action of work—behind bars or in the village—letting simple tasks play out in longer takes without music (and sometimes without cuts), and giving us a sense of how personal political struggles are integrated into the ordinariness of life.
There are countless fleeting moments that are heartbreaking because they’re so recognizable, and in some cases so odd yet mysteriously and undeniably real, such as the scene where Franz, in military custody, stops at a cafe with two captors and, on his way out, straightens an umbrella propped against the doorway. Moments later, there’s a shot from Franz’s point-of-view in the backseat of a car, the open window framing one of his escorts doing a weird little dance on the sidewalk—something he probably does all the time whether he’s wearing a Nazi uniform or plainclothes.
Franz Rogowski, the star of “Transit,” has a small, wrenching role as Waldlan, a fellow soldier who also becomes a conscientious objector. With an economy that’s dazzling, Rogowski and Malick establish the profound gentleness of this man, with his sad, dark eyes and soft voice, and an imagination that leads him to monologue on red and and white wine, and pose two straw men meant for bayonet practice as if they were Malickian lovers necking in a field. Every minute brings a new revelation, nearly always snuck into a scene sideways or through a back door, its full power registering in hindsight. Not a day has passed since first seeing this film that I haven’t thought about the moment when a prisoner who’s about to be executed turns to a man standing next to him, indicates the clipboard, paper and pen that he’s been given for last words, and asks, “What do I write?”
The film also shows regular citizens identifying with government bullies, and getting a thrill from inflicting terror and pain on helpless targets. The closest Malick, a New Testament sort of storyteller, comes to outright condemnation is when “A Hidden Life” shows German soldiers (often appallingly young) getting up in Franz’s face, insulting and belittling or physically abusing him with a sneering gusto that only appears when a bully knows that his target can’t fight back. (“Schindler’s List” was also astute about this.) There’s an unexpectedly elating quality to the red-faced impotence of Nazis screaming at Franz while he’s bound up at gunpoint, cursing him and insisting that his protests mean nothing. If they mean nothing, why are these men screaming?
The phenomenon of ordinary citizens investing their pride, their sense of self-worth, and (in the case of men) their fantasy of machismo in the person of a single government figure is one that many nations, including the United States, understand well. Malick doesn’t give interviews, but I don’t think we’d need one to understand why he would release a film like this in 2019, at a time when the United States is being torn apart over the issue of obedient support of an authority figure, and have the dialogue alternate German with English. But the film is rich and sturdy enough to transcend the contemporary one-to-one comparisons that it is sure to invite—and it’s not as if we haven’t seen this scenario elsewhere, before and after World War II, or will never see it again. The social dynamics presented here are timeless.
And yet, improbably, “A Hidden Life” is a tragic story that doesn’t play solely as a tragedy. The misery endured by Franz, Fani and their children is presented as a more extreme version of the pain everyone suffers as the byproduct of life on earth. The rumbling buzz of bombers passing over the village are of a piece with the arrival of the American warships in Malick’s “The Thin Red Line” to take Pvt. Witt away from his pacifist paradise and into the war zone, and the English galleons signaling the impending colonization of Powhatan lands in “The New World,” and the shots of cops and Pinkertons creeping up on the fugitive heroes of “Badlands” and “Days of Heaven” just when they were able to lose themselves in personal paradise.
Did God create suffering, and evil? If so, why? And why do suffering and evil inflict themselves arbitrarily and unequally? Is the test of endurance and faith the point of injustice and pain? If so, is that point a defensible one? Why be moral at all if morality can be neutered by force, and the powerful are immune to consequences that sting the rest of us?
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