🎦 The Lives of Others full movie HD download (Florian Henckel von Donnersmarck) - Drama, Thriller. 🎬
The Lives of Others
Drama, Thriller
IMDB rating:
Florian Henckel von Donnersmarck
Martina Gedeck as Christa-Maria Sieland
Ulrich Mühe as Hauptmann Gerd Wiesler
Sebastian Koch as Georg Dreyman
Ulrich Tukur as Oberstleutnant Anton Grubitz
Thomas Thieme as Minister Bruno Hempf
Hans-Uwe Bauer as Paul Hauser
Volkmar Kleinert as Albert Jerska
Matthias Brenner as Karl Wallner
Herbert Knaup as Gregor Hessenstein
Bastian Trost as Häftling 227
Marie Gruber as Frau Meineke
Volker Michalowski as Schriftexperte (as Zack Volker Michalowski)
Werner Daehn as Einsatzleiter in Uniform
Storyline: In the early 1980s, Georg Dreyman (a successful dramatist) and his longtime companion Christa-Maria Sieland (a popular actress), were huge intellectual stars in (former) East Germany, although they secretly don't always toe the party line. One day, the Minister of Culture becomes interested in Christa, so the secret service agent Wiesler is instructed to observe and sound out the couple, but their life fascinates him more and more.
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Best film I have seen...perhaps ever!
This is an incredible film. I had heard nothing about it until a friend suggested we take a look. I entered the cinema without a clue what it was about and whether it was going to be any good. It turned out to be stupendously good. The characters were brilliantly wholesome and the story was lacking in nothing.

The film is set in the 1980's in Germany and details the lives of those living under the regime in East Germany, focusing on some of the more "controversial" types in society; namely artists, play writes and actors. The relationships really tug at your heart and the turn of events is entirely unexpected.

I cannot believe that there is so little written about it but suggest that you see it now.
The Lives of Others
Is it possible for a man to be good if he's part of a bad system? This is just one of the many questions raised by the 2006 Oscar Winner for best foreign language film. Set In 1984 East Berlin, Gerd Wiesler is an agent of the Stasi. A good one. So good he conducts lectures on interrogation techniques of enemies of the state. He's tasked with an assignment to monitor Georg Dreyman, an influential playwright with on the surface seems a poster-child of the GDR.

What unfolds is a thoughtful and thought-provoking drama. Wiesler observes not only his target but the nature of the system he works for. His observation, near silent most of the time, reveals not only the complexities of Dreyman's personal life and political beliefs but also the corruption of a system he holds steadfastly to be perfect. It's a beautifully profound human drama that asks suitably profound questions. Can bad acts be legitimised if the perpetrator believes them to be inherently good? Can art be true without the freedom of expression? What are the limits of loyalty? The performances are uniformly excellent. Ulrich Mühe shines as the torn Stasi officer. Playing him as a blank canvas reflecting the world around him yet wrestling with his own loneliness. While Martina Gedeck is excellent as the tragic and trapped actress whose relationship with Dreyman is stretched to breaking point.

The film is subtle, observant and never feels the need to over-state it's key argument about the corruptive and corrosive effect of the Stasi on the GDR. Yet, the historical and political trappings are a framework to a touching human drama that works on almost all levels. Outstanding.
Excellent film, insightful character studies
This film, set in the theater world of the mid-1980s, was particularly satisfying to me because I was a producer of avant-garde theater through the 1980s, based in San Francisco but often on tour -- including to international theater festivals in West Germany, communist Poland and communist Yugoslavia in 1987. Although my experience as an American was of course very different than the experience of these East Berliners, there is a mood and sense of personalities in this film that I found authentic and familiar. The people in this film feel like the people I met in the festival bars and refreshment centers for participating artists and on panel discussions in those festivals.

Many commenters here have noted the important character change of the Stasi agent, attributing the change either to his growing appreciation for the humanity of the playwright and the actress, or else complaining that the transformation is unpersuasive. So far as I've read in the comments, no one has focused on the key scene. When the Stasi agent hears the playwright and friends planning the suicide article to be smuggled to the West, he writes up an accurate report on this and hastens to his boss's office. Up until then, whatever sympathies he may have developed for the playwright or for the actress are inadequate to deter him.

But when the agent enters the boss's office, the boss doesn't immediately give him a chance to give the report or to say anything -- instead the boss immediately launches into a discussion of a new study analyzing how to interrogate and intimidate artists and writers. The report categorizes writers and artists into 5 basic personality types. The boss says the playwright is a "type 4." He describes how the prescribed approach to intimidate "type 4" writers will result in them losing hope and never writing again.

Only after hearing this, and realizing that his report exposing the playwright as the author of the suicide paper will result in the playwright being crushed emotionally and never even wanting to write anything new, does the Stasi agent curl up the report in his hands and decide not to give the report to his boss. The agent's precise motivation is unclear. But it cannot be merely that the agent wants the playwright to be able to continue writing new works. The agent must know that the state will never let the playwright do another play or publish anything, if the playwright's authorship of the suicide paper is known, and yet the agent was ready to expose the playwright anyway. So the agent's motive for suddenly deciding to hide his report is not merely because the state will put the playwright on a blacklist and block him from publishing or getting plays produced.

Thus it must be that the agent is motivated to change by feeling a general revulsion against the idea that the state should employ the crushing of hope, of creative spirit, as a strategy for responding to a dissenter whom the agent knows is a genuine supporter of the regime but who sees that it has flaws. It is the fact that the state will destroy the playwright's very desire to write, that causes the agent to change. It isn't clear whether the agent would draw back from inflicting that kind of punishment on any artist, even one whom he felt to be a real enemy of the state, but it is clear that he can't bring himself to inflict it on a man whom he feels is a "good" man like the playwright. And the agent believes the playwright is "good" because the playwright supports what is good about society, tries to correct what is wrong about society, is loyal even to a friend who has made powerful enemies, and treats his lover with compassion even when it appears the lover is betraying him.

And the irony -- a good irony -- is that by acting to preserve the playwright's desire to write, the agent winds up being the focus of the playwright's novel -- a novel born of a desire and drive to write that the agent himself kept the state from destroying.

Thus it seems to me that the real message of this movie is that even the most unimaginative, bland, uncreative, rigid people -- such as the Stasi agent -- should appreciate and protect the desire that drives creative people who are also "good" people to create works of art and literature.
European cinema when it is good worth every minute. The film excites from beginning to end.
A masterpiece!

European cinema when it is good worth every minute. The film excites from beginning to end. In addition to the intelligent operation and behavioral history, there is no dead time in the film, everything has a meaning, a bond and a good pace. It's very interesting the way this movie talks about the respect or not of a person's privacy and the confrontation between dictatorship and freedom of expression ...

I have to take off my hat to Florian Henckel von Donnersmarck. He has done an excellent job. Yes, we all ought to take off our hats. He is an amazing director and writer.
Lives of others to life for others
I am not so good at writing.But for this movie i felt like writing something good about it.And i tried to recollect the name of it after watching the one struck me is "life for others".I think that tells the story.I liked the characters dimensions which were dynamic through out the movie.The book which is shown in the end is really out somewhere,i hope i would read that.

And i really thank IMDb for giving such gem of a movies as suggestions.And i confess that i watched this movie through online without paying.Will get a original DVD soon from stores.

Danke Deutschen
Intelligent and moving dealing with GDR history
East Berlin, November 1984. Five years before its downfall the GDR seeks to maintain its power with the help of a merciless system of control and observation. When Oberstleutnant Anton Grubitz puts loyal Stasi-Hauptmann Gerd Wiesler on to the famous writer Georg Dreymann and his girlfriend Christa Maria Sieland who is a famous actress herself, he expects career advancement for himself. For most important politicians are responsible for this "operative act".

What Wiesler did not expect: the intimate view on the world of the ones he's observing changes the snitch as well. Looking at "the life of the others" makes him aware of the beggarliness in his own life and enables access to a so far unknown world of love, free thinking and speaking he is hardly able to elude. But the system can't be stopped anymore and a dangerous game, which destroys the love of Christa Maria Sieland and Georg Dreymann and Wieslers present existence begins.

Until the fall of the wall each of them has paid a big price. After that a whole new world begins.

My personal opinion - though it doesn't count that much - is that this one a an absolute Must See. I can hardly remember such an intelligent and moving German movie especially not including the whole topic of GDR history and the dealing with it. I think this is the first German movie which shows this system as it used to be (which has been confirmed by several contemporary witnesses) and not turns it and its people into comedy though there have been several good ones, of course.
Who's Watching the Watchmen
I tend to avoid subtitles in films these days. I always end up missing something and having to rewind, and of course you end up with a somewhat broken visual experience. I made an exception for this film though as I'd read somewhere that it was worth a watch.

I have to say, as a layman, I find it very tough to fault this film. I'm generally wary of hype but it's totally justified in this case. So much care has gone into the writing, stylisation, visuals, casting, acting, direction, editing, sound. I think they really wanted to tell this story right. And they succeeded.

Set in East Germany in the mid 1980s, you get a fly-on-the-wall look at how the Stasi(secret police) operated, and the ubiquitous menace it sowed into people's every day lives. Moreover you get an insight into the precarious plight of the artist living under such a regime, i.e. either he sells out and produces safe art that doesn't challenge those in power, or is true to himself but risks surveillance, interrogation, an end to his career or worse.

The central story is of a playwright who is in good standing with the government at the beginning of the film but falls foul of a corrupt government minister who takes a shine to his girlfriend. Ordering the Stasi to conduct full surveillance on the playwright's home, the minister then brutally pursues the girlfriend. The rest of the film follows the interplay between the watcher(a particularly expedient Stasi officer), his superior, the watchees, and the government minister.

Superbly well-acted all round. Just a well-rounded piece of work. So easy to watch. It really transports you to a different place and time. You get a feel for the spartan nature of that society, the apparent havens of normality within, but of course all ultimately at the mercy of the powers that be.

A beautifully crafted study of how fear and consequence influence art, the ugliness of corruption in a society where people have no power, and how divisions of good and evil aren't nearly as black and white as we would like to believe.
Stasi a lesson to us all
It has been suggested that the story of Hauptmann Wiesler (Ulrich Muhe), a senior, dedicated and zealous Stasi East German (DDR) secret police officer who starts to empathise with the subjects of his investigation is rather improbable, but to me it rings true emotionally.

His subjects are Georg Dreyman (Sebastian Koch), a playwright currently in party favour, and his actress lover Christa-Maria (Martina Gedeck). Sooner or later, an inhabitant of the chill world of secret policing with no private life to speak of sent to investigate "artists" is going to feel the warmth and charm of the milieu he is spying on, especially where, as here, he soon realises that his superiors' motives for the investigation are corrupt.

Apologists for the Stasi (and given it employed 100,000 and had at least 200,000 informers these are numerous) say the DDR was a system that ran according to laws which were designed to protect society, but as is inevitable in totalitarian regimes the laws were perverted by those in charge to serve their own ends. Thus loathsome culture minister Hempf wants to get something on Dreyman so he can have the lovely Christa –Maria all to himself, and Wiesler's slimy boss Grubitz is only too happy to oblige.

Wiesler's conversion from dedicated servant of the regime to furtive dissident is an amazing process to watch, and Ulrich Muhe, who happens to be an "ossi" (former DDR resident), makes it very plausible. Despite tragedy, the movie has a surprisingly upbeat ending. The complacent Hempf believes people don't change but this does not mean they are entirely predictable.

We see a fair amount of the Stasi at work. The rank and file are not portrayed as monsters, or automatons, just ordinary workers prepared to crack jokes about their masters at work. Most of what they do is minor harassment directed towards encouraging conformity. It is not hard to break the rules in a society where you need permission to subscribe to a foreign newspaper. It is an interesting irony that one of the catalysts of Wiesler's silent rebellion is the work of Bertold Brecht, at one time an enthusiastic supporter of the DDR.

Whatever you think of its politics, this is a very fine film, with not a single one of its 137 minutes wasted. It is certainly an antidote to the "ossie" nostalgia said to possess some residents of the former DDR and wonderfully satirised in "Good-Bye Lenin". But it also asks all of us how would we behave in similar circumstances. If it might be to your individual advantage (and to the disadvantage of your enemy) would you do it? The Stasi had even otherwise loving couples informing on each other. We can only hope that, despite our own overzealous secret policemen who are doing their best to undermine our civil liberties in the name of anti-terrorism, we never get to such depths in this country. I do hope Phil Ruddock (our Attorney-General) gets to see this movie.
A masterpiece of story telling
Some really average films get held up as classics nowadays - but here we have a genuine classic.

Everything works together and supports the story, no over indulgent 'David Leanesque' camera shots; no over-the-top performances from any of the actors. Okay, maybe a little sentimental in parts, but by then you are completely sucked in by the performances and the story so it doesn't matter.

I implore all film lovers, who haven't seen this movie to do so immediately and if you don't think it is one of the best films ever made - to quote Ron Burgundy: 'I will fight you and that's no lie!'
Excellent insight into the Iron Curtain
The suspicion of the Eastern Germany's Stasi and the depression inflicted on the creative intelligentsia is incredibly well-portrayed. Even though I remember the tearing down of the Berlin Wall and celebrating the joy of freedom and democracy, I had no real comprehension of the deceitfulness, suspicion, and depression that was so prevalent in Eastern Germany.

This movie presents and excellent portrayal of how the weak were forced to sacrifice their morals, but it also The sacrifice of morals by the weak, but it also showed redeeming qualities of even some of the most despicable members of the Stasi.

The unexpected ending of the movie is well worth the two hour and 15 minute wait.
📹 The Lives of Others full movie HD download 2006 - Martina Gedeck, Ulrich Mühe, Sebastian Koch, Ulrich Tukur, Thomas Thieme, Hans-Uwe Bauer, Volkmar Kleinert, Matthias Brenner, Charly Hübner, Herbert Knaup, Bastian Trost, Marie Gruber, Volker Michalowski, Werner Daehn, Martin Brambach - Germany. 📀