After watching The Tourist, I felt betrayed, like I had been lied to. Perhaps it’s unfair of me to have such high expectations for Florian Henckel von Donnersmarck. After all, every director produces a bad film once in a while. But I feel so let down when I was expecting champagne, and he came through with wine out of a box. And like wine in a box, it’ll get you drunk, but you won’t enjoy drinking it. And you sure as hell feel ashamed buying it.

The Tourist, as you might have guessed, centers around a bland man named Frank, played by Johnny Depp. Upon arrival in Venice, it’s hinted he’s mourning the end of a relationship, he becomes involved with an extremely mysterious woman named Elise, the stunning Angelina Jolie. She could be a cop, she could be the spouse of one of Europe’s most wanted criminals, she could just be a criminal herself. All that’s immediately clear, is she’s using Frank as a decoy to get local Italian police and Interpol off her back. Then there is exactly the number of twists and surprises you would expect out of a hacky mystery novella (which Frank happens to be a huge fan of).

This is Donnersmarck third writing credit, although the first is for a short film. But there are absolutely no signs of his Academy Award-winning talent to be seen. As a European making his first American film, you’d expect certain explorations of the American/European relationship. Unfortunately, he choose to shamelessly pander to American audiences. Instead of the ‘ugly American’ stereotype, Italians are portrayed as ignorant, incompetent, disbelieving Frank, and the real danger he’s in, writing him off as one of those loud Americans with no tact. This is all that’s expected of the peripheral characters in the story. It’s disappointing that one of the best directors of Europe feels he must indulge us on this side of pond the in this way. Ultimately, if this was done in sincerity, it means he has a very, very negative view of American movie-goers.

I’ve heard complaints of Johnny Depp’s acting. Words like ‘wooden’, and ‘dull’ have been floating around. I couldn’t disagree more. Sure, his performance is subdued, and there’s no much panache, but he’s meant to be playing a community college professor of math. It seems to me, he nailed it: wooden, boring, dull. And it takes a certain something to even the keel when playing opposite Ms. Angelina Jolie, which he did just fine. Jolie is the only thing in the film more stunning than the scenery of Venice. I will concede that she’s not asked to do much other than wear expensive jewelry and clothes, and to be sure they drape well over her figure. This isn’t to say her character is underdeveloped. It’s exactly as developed as it should be in a thriller of this mid-range caliber.

It seems to me that the demographic The Tourist was created for will, for the most part, be satisfied with the besotted and sloppy plot (a plot that would never hold up under the lightest scrutiny). But even as a guilty pleasure, this film, and it’s outrageously obtuse ending should disappoint anyone not looking for the most meager level of escapism. You get a buy on this one, Donnersmarck. Don’t let it happen again.

1 out of 4 stars

Donnersmarck has proven himself as a master story teller as he delves into the dark world of Socialism, East Berlin, and espionage. The story follows Stasi (German Secret Police) Captain Weisler (Ulrich Muhe) as he tries to determine the loyalties of playwright Georg Dreyman (Sebastian Koch) who has drawn attention to himself by being the only non-subversive playwright in Eastern Germany. Dreyman is involved with stage actress Christa-Maria Seiland (played sensually by Martina Gedeck) who, unbeknownst to Dreyman, is involved with culture minister Hempf. In his own plot line, Hempf is attempting to have Dreyman removed from the picture so that Seiland will become his own.

Donnersmarck uses this main storyline to weave a complex tale that certainly isn’t lacking in moral dilemmas. Donnersmarck poses some very interesting questions that can’t be answered simply. What is art really worth and what are we willing to sacrifice for its existence? Where exactly does government overstep its bounds in the name of protection of its citizen and in the name of the state? But most importantly, we see Donnersmarck’s belief that over great odds, humanity can triumph over even the evils of Socialism.

Despite these ever present, important themes, Lives doesn’t fail to deliver the goods on screen. Donnersmarck shows his skill at building palpable tension in one particular scene at Stasi headquarters. In an attempt to bring the equality Socialism to all levels of life, Weisler and another officer sit next to low level Stasi office workers. Without noticing the commanding officers, one of these young men starts to tell a joke about the then GDR leader, Erich Honecker. Upon realizing the step out of bounds, the young man backtracks quickly as the officers confirm this was a career ending move for him. The intensity at this moment could be cut with a knife. In other, lesser films, scenes like this can seem campy, overdramatic and unbelievable. Donnersmarck uses these chilling moments to shine as the audience is sucked into the overwhelming terror of such a dictatorship.

The true brilliance of the film comes in watching the complexity of the characters and the changes they go through. The no-frills screenplay allows us to see true human drama in a way that’s obviously not contrived. On top of these accomplishments, Donnersmarck manages this without drawn out action scenes, without gratuitous violence or sex. But don’t get me wrong, the gritty love story between Dreyman and Seiland is one of the main, and most compelling story lines that keeps the audience interested.

As we follow this masterpiece, the viewer becomes a part of both the Stasi and a part of the underground resistance. We understand the decisions made by both parties and this is what makes The Lives of Others so compelling. Watch this movie. Don’t be afraid of the subtitles, and you’ll be vastly rewarded.

4 out of 4 stars

Rottentomatoes: 93% – Cream of the Crop: 95%