THE GOOD GERMAN (4K): Looks Aren't Everything

THE GOOD GERMAN (4K UHD)

2006 / 108 min

From Warner Bros.

Available at www.MovieZyng.com

Review by Princess Pepper😼

I don’t care for everything Steven Soderbergh has directed. Of his films that I’ve seen, I enjoyed maybe a third of them. But I admire the guy because he’s unafraid to take risks. Equally at home doing blockbusters and indie darlings, he also did a couple of movies with just a cellphone. When it comes to different ways to make a film, Soderbergh appears willing to try anything…for better or worse.

That adventurous spirit also applies to 2006’s The Good German, a World War II mystery-thriller shot in black & white in the 1.33:1 aspect ratio that was standard for movies of that era. Soderbergh and cinematographer Peter Andrews perfectly capture the look, tone and style of classic film noir, aided by Thomas Newman’s evocative score. If one didn’t know better, they’d assume they were watching something from the 1940s (at least until Tobey Maguire is shown vigorously boning Cate Blanchett).

The Good German gets a lot of mileage out of its throwback aesthetic, especially scenes that are obvious homages to the films which inspired it (Casablanca anyone?). And the overall image looks terrific in 4K. But as they say, looks aren’t everything. 

"Sorry...I don't date superheroes."

The narrative itself is sporadically interesting. As World War II ends, George Clooney plays Captain Geismer, a war correspondent in Germany who’s compelled to investigate the murder of conniving, opportunistic GI Patrick Tully (Maquire). His digging leads him back to old flame Lena Brandt (Blanchett), as well as the U.S. and Russia’s efforts to snag German rocket scientist, Emil Brandt, Lena’s husband. However, the Brandts have some very dark secrets related to their roles in the war.

But here’s the problem…while the story is okay, none of these characters are very interesting. In fact, all that’s really revealed about Geismer is that he’s a newsman and once had a fling with Lena, who I suppose qualifies as a femme fatale. But aside from Tully being established as a reprehensible bastard (and Maquire’s screen time is far less than his billing suggests), everyone else is just a talking head providing exposition.

In a way, this sort of makes watching The Good German kind of like going on a date with someone who’s drop dead gorgeous, only to discover over dinner they have zero personality. You don’t regret asking them out, but one date is probably enough. Ultimately, this is another Steven Soderbergh cinematic exercise that’s easier to admire than enjoy.

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