The Bourne Supremacy

Onward with the Jason Bourne story.

This is two years after part one ended. Jason and Marie have put some distance between themselves and whoever is out to kill him or both of them and are now in Goa, India. However, the vengeful arm of the agency or anyone they are connected with reaches there, too. The assassin sent to do away with Bourne and opting to do away with Marie instead turns out to be Russian. We later learn he is Secret Service in Moscow.

Meanwhile, in Berlin, two agents are killed while on a mission and at the crime scene a partial print that matches Jason Bourne's is discovered. This happened under the eye of one Pamela Landy, a woman surprisingly far in the dark for someone that high up on the corporate ladder and calling shots. So, still everyone is after Bourne and Bourne is after everyone that is after him.

Some - but far from all - of the loose ends from part one are tied up. Need to leave some for part three, no. The inevitable car chase this time takes place in Moscow. No glass panes smashed far as I could see.

The point of irritation in this one...no matter how big or small the place, assassins just happen to run into their targets and vice versa. Seriously, Jason Bourne is randomly spotted in Moscow by his nemesis.This is a town of about 11,5 million citizens. Even if you are in the same approximate area the chances of you running into each other would be slim, at best.

Still, not bad for a film wedged in between two others storywise.

7/10

Angst essen Seele auf (Ali: Fear Eats Soul)

This is the story of the relationship between Emmi and Ali.

Everyone around them disapproves of their love and subsequent marriage - her family and friends because Ali is an immigrant. As for Ali's friends, they appear to be pretty ambivalent about it, even though Emmi is considerably older than Ali.

Emmi's children give her hell, her work mates shun her at their lunch breaks and her grocer won't sell to her anymore. Nevertheless, the two try to stick it out.

But of course the two live in different worlds and they never really stood a chance.

Bleak and probably as true as it gets without getting overly violent.

7/10

Mephisto

This film is based on the book of the same name by Klaus Mann, the story of the actor Gustaf Gründgens. The book was originally published in 1956 but after Gründgens' death (1963) his adoptive son fought to have the book banned, because it portrayed Gründgens in a less than sympathetic light. Consequently, it was taken off the market in 1966. In 1981, ignoring the ban, the book was finally republished in Germany. The film came out the same year.

The main character is called Hendrik Höfgen (brilliantly portrayed by Klaus Maria Brandauer), an actor that in the 1930s initially supports the Bolsheviks but it may not even be a political statement. He simply does not concern himself too much with the political changes in his country. So ignorant is he that he is not even aware of a vote that puts Hitler in charge in 1934.

His wife, whom he married not for love but because her father had considerable influence before the Nazis took charge, leaves for France and they lose contact. Also, some of his colleagues chose to leave the country. When one actress tells him she is learning English and about to leave for America, because there is no future for literary art and theater in this new Germany she also suggests Höfgen leave, as well. His reaction, "Ich brauche die deutsche Sprache! Ich brauche meine Heimat!" ("I need the German language! I need my home!").

Höfgen stays and bends enough under the new regime to coax his way to the top and into a circle of friends of an influential Nazi. All the while, he hides a friend in his apartment and has an affair with a black dancer, until his Nazi friend suggests she get out of the country and he no longer associate with her.

He spends the best part of his career playing the role of Mephisto in Goethe's Faust. Eventually, he is handed the reigns of an important theater in Berlin. Höfgens is every inch the opportunist, convincing himself that he only lives for the theater and politics barely come into it.

from Roger Ebert's review: This is a human story, and as the actor in this movie makes his way to the top of the Nazi propaganda structure and the bottom of his own soul, the movie is both merciless and understanding. This is a weak and shameful man, the film seems to say, but then it cautions us against throwing the first stone.

The film was nominated in the Best Foreign Language category (for Hungary) at the Oscars.

8/10