István Szabó's movie is based on the novel with the same title by Klaus Mann, the son of Thomas Mann. There is, however, an essential difference between the treatment in the book and in the movie of the same material: the character and behavior of the actor Gustaf Gründgens, the (ex-) husband of Klaus' sister Erika. Gustaf Gründgens had only one obsession: acting, to become the best actor and that at all costs. For the literary critic M. Reich- Ranicki, Gustaf Gründgens was indeed the best German actor of the 20th century. He excelled in the role of Mephistopheles in Goethe's Faust (see the movie 'Faust' shot by his adopted son Peter Gorski – one caveat: no subtitles).
The novel and the movie Klaus Mann's novel is basically a sharply defined portrait (and an attack on) of his brother-in-law, the overambitious theater man. In order to fulfill his ambitions, G. Gründgens plays the role of the humble collaborator/servant of all those in power, be they from the left or from the (extreme) right, so also of the Nazis. But, the movie goes one step further. The actor, Gustaf Gründgens, serves as a means to dissect a cardinal human problem: the relationship between art and power (politics). The movie illustrates eminently that an artist (art) should not play the role of an innocent human being in a society full of bloodshed. As André Gide said, 'there is no art without liberty'. An artist (actor) should not collaborate naively with culture barbarians ('When I hear the word culture, I reach for my revolver'). In any case, for those culture barbarians artists (actors) should only play the part of their negligible foot soldiers, which can be 'crushed like beetles' ('Get out, actor!').
Klaus Maria Brandauer plays perfectly the 'two' Mephistopheles, the 'immoral' character in Goethe's Faust and the 'innocent' political collaborator. He is surrounded by a splendidly directed great cast. This movie, which tackles head on the role of art (movies) itself, is a must see for all lovers of world cinema.
3 out of 4 found this helpful