🎦 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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A stunning directorial debut which deserves to be seen everywhere
Because this movie deals with recent German history, some German comments about it get sidetracked into minute historical discussions. Forget them; Das Leben der Anderen is an outstanding movie that should be seen everywhere.

The former East Germany, a relatively small country of 16 million people, was controlled by the most sophisticated, cunning, and thorough secret police the world has ever seen, the East German Ministerium für Staatsicherheit, or "Stasi." The Stasi had about 90,000 employees -- a staggering number for such a small population -- but even more importantly, recruited a network of hundreds of thousands of "unofficial employees," who submitted secret reports on their co-workers, bosses, friends, neighbors, and even family members. Some did so voluntarily, but many were bribed or blackmailed into collaboration.

Das Leben der Anderen, ("The Life of Others") German director Florian Henckel von Donnersmarck's debut, builds this painful legacy into a fascinating, moving film. In its moral seriousness, artistic refinement, and depth, Das Leben der Anderen simply towers over other recent German movies, and urgently deserves a wide international release. The fulcrum of the movie (but probably not its most important character) is Georg Dreyman, an up-and-coming East German playwright in his late 30s. Played by the square-jawed Sebastian Koch, Dreyman is an (apparently) convinced socialist who's made his peace with the regime. His plays are either ideologically neutral or acceptable, and he's even received State honors.

Although he is a collaborator, he is also a Mensch. He uses his ideological "cleanliness" to intervene on behalf of dissidents such as his journalist friend Paul Hauser (Hans-Uwe Bauer). These unfortunates must contend with every humiliation a totalitarian state can invent: their apartments are bugged, friends and family are recruited to inform on them, and chances to publish or perform can be extinguished by one stray comment from a Central Committee member. The most recalcitrant can be kicked out of the country and stripped of their citizenship, like the singer songwriter Wolf Biermann.

Dreyman lives in a shabby-genteel, book-filled apartment with his girlfriend Christa-Maria Sieland (Martina Gedeck), a renowned actress who often appears in his plays. At the beginning of the movie, Dreyman himself comes under the regime's suspicion, for reasons that become clear only later. The fearful machinery of the Stasi rumbles to life: his movements are recorded, and his apartment bugged. The Stasi had bugging down to a science: a team of meticulously-trained agents swoop into your apartment when you're not there, install miniscule, undetectable listening devices in every single room -- including the bathroom -- and vanish in less than an hour, leaving no trace. Agents set up an secret electronic command post nearby, keeping a written record of every joke, argument, or lovemaking session.

The "operative process" against Dreyman is overseen by Stasi captain Gerd Wiesler, played by Ulrich Mühe, an actor from the former East who was himself once in the Stasi's cross-hairs. Captain Wiesler starts the film as a colorless, icy, tight-lipped professional who shows no mercy in fighting the "enemies of socialism": if he needs to interrogate a suspect for 10 hours without sleep to get a confession, he will do so -- and then place the seat-cover the suspect sat on in a vacuum jar in case the miscreant should later need to be tracked by bloodhounds. At night, Captain Wiesler returns to his tiny apartment in an grubby, anonymous high-rise. He settles himself among his inexpressibly drab furniture, eats a meal squeezed out of a plastic tube while watching reports about agricultural production, and then goes to bed alone.

As Captain Wiesler listens to Dreyman and his girlfriend he begins to like them, or perhaps envy the richness and depth of their lives in comparison with his own. Perhaps he also begins to wonder why a stranger should have the right to become privy to Dreyman's most intimate secrets: his occasional impotence, his girlfriend's infidelities, his artistic crises. At the same time, though, Wiesler is under pressure: a Central Committee official has made it clear to Wiesler and his toadying supervisor Lieutenant Colonel Grubitz (Ulrich Tukur), that Dreyman has to go down.

I won't discuss more plot details, as there are unexpected twists. Each of the main characters is drawn deeper into the conflict between Dreyman and the State, and each is torqued by loyalty conflicts that intensify as the pressure increases. The cast is outstanding. Sebastian Koch finds the right combination of poetic detachment and watchful sophistication for Dreyman. Martina Gedeck, as his girlfriend, has the most challenging role, since she's buffeted from all sides: by her suspicious partner, by Stasi agents trying to turn her, and by a lecherous Culture Minister. Ulrich Mühe plays the Stasi agent's transformation with reserve, only hinting at the stages in his character's secret, but decisive, change of heart.

Director von Donnersmarck, a blue-blooded West German, has re-created the gray, drained look of the former East, and the nature of Stasi intimidation, with a fidelity that has earned the praise of East Germans. His pacing is relaxed, but doesn't drag; although there are a few longueurs, most scenes unfold at just the right pace, and there are several great set-pieces. One is a bone-rattling episode in the Stasi canteen in which a young recruit is caught telling a joke about East German premier Erich Honecker. Another is the penultimate scene, a masterstroke in which Dreyman gains access to his massive Stasi file, while reading it, suddenly understands episodes of his own life which had never made sense to him before. The ending is perfectly judged; bittersweet and moving without swelling strings or teary confessions.

Das Leben der Anderen is an outstanding movie, probably a great one. If it's not picked up for international distribution, it will be a bitter loss for thousands of potential moviegoers in other countries.
Terrific screenplay and solid performances for a powerfully gripping drama
It is the second time I have seen this movie. When I first saw it I remember feeling upset by the idea that just a little more than 20 years ago, in the heart of a civilized and enlightened Europe, there dominated such cultural repression and such terroristic means of questioning. Not that history of the former DDR was unknown to me, but probably because undeveloped at school, or probably because a little disregarded also by cinematography, it was rather upsetting. On a second watching, having assimilated the strong impact of the first one, I could better analyze the quality of the movie from a cinematographic point of view, and really appreciate it. It has a solid structure which makes every shot perfectly match with the whole, and contributes to an overall clear, lucid and perfectly built drama. The story proceeds with a quick pace, each scene is the preparation for the next one, everything is under control and follows a well marked and gripping path. The cast is simply outstanding: the actress playing Christa Maria is truly convincing in showing her deep inner laceration between her love for the stage and her love for Georg, the handsome and attractive dramatist, who knows where the right side lies, but finds it hard to assert it explicitly. But who leaves the most emotionally powerful mark is Ulrich Muhe interpreting Wiesler: he stirs thought and emotion, he is so dramatically contained, as his character requires, but, in a single hint at a smile (whe he reads Brecht's poems), conveys such a desperate yearning for true life, I think an Oscar deserving interpretation. In the end, a movie I would absolutely advise: it is intelligently thought-provoking, intellectually honest, and solidly built: a high-level piece of cinema. Really worth seeing.
A German movie you will never forget
This is a very intense German triller. Exceptionally well made, not what I expected and as the movie progressed you fine yourself re-evaluating the characters.. Nothing negative to write about this movie, a simply script well acted. I only wish more movies were made like this, for 2 million dollars they made a masterpiece of cinema. Watch it. Florian Henckel-Donnersmarck's direction with its twists and turns kept the audience glued to the screen. Because of the film's popularity,And even though the movie has very tough moments it is all so well done and presented with such a good taste that in the end you feel some sort of relieved.
You can sacrifice anything but yourself and your love and love filled with guilt is better to be dead.
You can sacrifice anything but yourself and your love and love filled with guilt is better to be dead.

The theme of the movie is complex to construe coz it has many layers, its very humane as a theme and brings very gross realities as a human being. Setup in the 1980's Germany where it was still divided and it was in East Germany about an artist couple, a writer and an actress being watched over by the Stasi, by HGW XX/7 the code name of the Policeman who wil note the records of what the couple does all through. This policeman played by Ulrich Muhe is the protagonist of the film. Now, the whole movie drives with his writings, his listenings and what he makes out of them. Truth is kept alive by this man and that is what he lives for, for truth.

Now, few movies have a very engrossing screenplay from first frame and this one has it and deservingly is one of the best films in terms of story and screenplay, the direction is so well done that never for a slightest moment did I feel that something was out of place or it is uncalled for, everything went as per the script which is the true hero. There are no aberrations as such as each character is etched out superbly. You cannot write characters as black and white coz there is a flaw in each and that's what is shown.

It's one of the few films that is supremely human and music too has it's own place to bring out humanity, like reference of Lenin's quote on Betthoven's symphony. Watch it to know it, I cannot comprehend in mere words what this film is.

One of the superb films in recent times. I make it 5/5.
Slow Moving But An Excellent Drama About Human Emotion
I enjoyed this film quite a bit. The plot and script were superb and the acting impeccable. All characters did exactly what the director wanted - you hated some and loved others. Their feeling of helplessness was put on the screen very well and the bleached, stale cinematography was well noted.

This is a film about human emotion during a time when the government wishes to extinguish it. To see how each character is moved and changed by their bleak surroundings was marvelous.

I would recommend this film highly - just be warned that it is slow moving with not many exciting parts. There are several tense and gripping scenes however, and the ending is truly heart felt.
This is a great movie you're not gonna miss. When I finished watching it, I even didn't know what to do. The HGW XX/7 has a real dignity and the way he turns and separates his way from meanness to heroism is unspeakable. He doesn't talk too much and never gets to talk to Dreyman. The soundtracks are really fit into the sequences and the movie gives you the feeling of being ruled by dictatorship.

It is also thoroughly instructive how Georg Dreyman treats his wife when he finds out about her compulsory affairs with the minister. That's the right way to handle these events in life.

It deserves to win the Oscar and even a better award if existed!
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!'
Another great German movie
Generally, I thought this was a great movie, very well done, very suspenseful. The ending was a great bit of closure - a nice touch where Georg could let Wiesler know that he knew what Wiesler had done for him. I would have liked Georg and Wiesler to have a conversation, but maybe that would have been too much of a Hollywood ending.

My main negative about the movie is that I didn't understand why Wiesler was so affected by the lives of Georg and Christa-Maria. Clearly his life was empty, but he was an experienced agent and had spied on many people, which probably included artists. I didn't see why he would feel such sympathy for these two to the point of putting himself at risk. But if you just take his feelings and reasons for what they are, the film works very well.

I saw von Donnersmarck interviewed (in English) and was surprised at his American accent - evidently he lived in New York for part of his childhood. I recently saw "Downfall" (Untergang) and "Head-On" (Gegen Die Wand), which were also excellent movies. I'm glad to see that German films are achieving international recognition.
Truly gripping.
This movie is definitely one of my favorite German movies ever. I visited the Hohenschönhausen prison in East-Berlin some time ago so the opening sequence of this movie really hit me in the face because I know the place and the things you see in the movie were a reality not so long ago. The actors are brilliant. The script is perfect. The sets are historically correct and give you a good impression of how it felt to live in the DDR. Not really a "feel good"-movie but a message to set the records straight about the DDR-regime and its StaSi-system. Even the difficult parts, like the fact that there are a lot of former DDR-officials who still don't have any regrets about what they did, are not skipped. A true masterpiece.
Masterpiece, a unique lesson on humanity
This is the first full feature film by Florian Henckel von Donnersmarck and won him a Best Foreign Language Film Academy award as well as an uncountable number of other awards all around the world. The film runs for roughly 2 hours and 15 minutes and does not drag a single second. The reason for this is FHvD's outstanding script and a cast that delivers 100% from minute 1, also including all the actors in smaller roles such as Thomas Thieme who gives a great performance of an influential figure not scared of using his political power to his own sexual advantage. The standout is Ulrich Mühe. His transformation from a ruthless Stasi agent into a caring human being who puts his own freedom at risk in order to oppose a political system built on fear that is as rotten as it gets and protect the people suffering from it. Merely from the political perspective, in my opinion, this is a movie that everybody needs to see, especially those with an interest in history. And even for those who are not particularly fond of political films, this is highly recommended as the characters and their interaction are written and portrayed with such wit and accuracy that I am not shy of calling it the best German movie ever made. And I have seen lots.

I cannot even mention a favorite scene, there are just too many: the joke at the cafeteria table, the boy in the elevator, the interrogation between Mühe and Gedeck, threatening the neighbor('s daughter), the red color on the files near the end, the suicide references and so on. Or I could simply mention the entire epilogue, i.e. everything that happens in the movie after the Fall of the Wall. When Dreyman reads his file or how Wiesler enters the bookstore in the end are maybe the most moving moments of this film. Wiesler's last words are completely genius and I wish all films could end on such a high note. In general, his character and his transformation are one of the most interesting things I have seen in movies in the last years. There are many moments one could analyze, so i will just mention one. Pay attention to how he is looking for real togetherness during his meeting with the prostitute and thus cannot understand the affair between Gedeck's and Thieme's character. His faith in the system crumbles more and more as he realizes everybody is just interested in themselves, while he initially believes in the ideal of socialism. But the people in his organization are so different compared to everything he believes in that finally the whole concept of the GDR crumbles in his mind before it crumbles in reality. There is no point anymore in punishing the people who offend his country as he realizes they are the ones who are correct and he uses all the means in his power to help them without becoming part of an investigation himself.

It's so sad to see that Ulrich Mühe died so quickly after this film, even before his posthumous BAFTA nomination. But we should be grateful to see the legacy he left us here. What surprises me a bit is that Freydank has worked so little in recent years. He only made one movie in the nine years since "Das Leben der Anderen" (a forgettable thriller with Johnny Depp and Angelina Jolie) and there is nothing upcoming on his body of work either. Maybe he really was a one-trick pony, but boy was that trick magnificent. A must-see. Perfect score.
📹 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. 📀