Comparing Wiesler And Dreyman
Summary Relationship Scenes
A number of scenes create a summary relationship between the story timeline and the screen duration. The film begins in East Berlin around November 1984 and though most of the plot takes place during this time reference, the story’s full timeline is almost a decade long. The following scenes complement the narrative because they allow the viewer to understand the historical changes in the setting (for example – the fall of the Berlin Wall) and the changes in the characters (for example – Wiesler is demoted from Captain to letter opening clerk):
Scene 1 – The film identifies that 4 years and 7 months have passed. This scene prepares the viewer for change and allows us to understand that Wiesler has been in his …show more content…
downgraded post for a number of years. From a historical perspective, we know that Germany becomes a unified country and as such, we anticipate further change from Scene 1.
Scene 2 – The film identifies that another 2 years has passed from the fall of the Wall. It is clear that East Germany has now become a more democratic country and that information is more readily available. Dreyman visits the archives of all the files kept by the DDR on the citizens investigated. We understand in this scene the extent of the socialist government’s record keeping and distrust of its people. The scene presents the viewers with a fully open Germany not only in its public information but also in its culture and arts. It is here that Dreyman runs into Hempf and we see a major change in Hempf’s stature (but not his character). This scene adds to the impact of the link between Dreyman and Wiesler. Throughout the film, they never meet or share a single scene so when Dreyman discovers what Wiesler has done for him we see how in fact both men were disillusioned (Dreyman never thought his apartment was “bugged” or that a Stasi might help him) and hasten each other’s disillusionment.
Scene 3 – Another 2 years has passed since Dreyman went to find Wiesler and decided not to confront him. Wiesler walks by a bookstore announcing Dreyman’s new book, “Sonata for a Good Man” and its dedication to him. His final four words “It is for me” are impactful because through time passing, we understand how he never sought recognition for his kind acts.
Only a few scenes created a summary relationship because the story unfolds mainly in 1984, and the plot itself is linear with each scene naturally following. There is little confusion in timelines so that when the tension and the denouement arrive we are ready for it. We smile in the end when Wiesler buys the book dedicated to him because we understand how the passing of time, knowledge and aging has created a kinder gentler world in Germany.
Round Character
The character of Stasi Captain Gerd Wiesler is a round character in this film given his growth and changes throughout the story as well as the various emotions witnessed which include confidence, fear, doubt and seclusion.
Wiesler’s character starts the film as a colorless, tight-lipped state security officer who shows little mercy in fighting the "enemies of socialism". Clad only in gray button down clothing he is incapable of feelings giving you a sense that he is a robot of the system. Early in the film, he interrogates a suspect with little mercy to get a confession. His life seems to reflect his presence – drab and boring. At night, he returns to his small non-descript apartment in an anonymous high-rise.
As the operation to find culpable information on Dreyman advances, we see Wiesler awaken slowly as he listens in to the bugged apartment from the attic.
As he sits listening to the “lives of others”, he starts to see things differently while the pressure to find dirt increases. We see the change evidenced in scenes, which reflect his awakening and dilemmas. The scenes are: 1) Wiesler reading and enjoying the novel he took from Dreyman. The concept of literature having value is against all socialistic beliefs. 2) Listening to Dreyman play the piano sonata he is “moved” and touched by the music 3) when the boy with the balloon enters the elevator and states to Wiesler that he is not a good person according to his father Wiesler has a reflective moment and elects not to take the boy father’s name down. 4) Speaking to Christa at the bar and showing an ability to empathize with her needs.
Over time, Wiesler becomes the emotional centre of the story and the line between heroes and villains goes grey. Weisler risks his entire career as his attitude to his “subjects” changes from one of mistrust to one of near-adoration. He begins to envy the richness and depth of their lives in comparison with his own. He changes radically, and decides he longer wants to be a part of an unethical, inhumane system. He becomes the good man acknowledged by Dreyman’ book and in the end finally does something for himself. These events and changes reflect a round
character.
Flat Character
The character of Minister Hempf (Minister of Culture) is a flat character in this film. He is predictable in every scene, his characteristics do not change and he exists mainly to hinder the main characters. An example of this is the scene where Dreyman asks Hempf to consider removing Jerska from the government blacklist. Hempf questions why he would believe that people could change.
Hempf is portrayed with few defining characteristics other than his interest in keeping the status quo, promoting the socialist system and benefiting from this system personally. There is little complexity to this character. As a Minister, Hempf wants to continue enjoying the benefits of his position and ensure that the pyramid structure within the GDR government stays protected.
Throughout the film, Hempf does not stray from his role. He is a cardboard cutout of the socialist government’s top brass. He acts invincible, is ruthless in his needs including wanting Dreyman to go down so that he can have his girlfriend. He rewards those who help and punishes those who do not. In his final scene, Hempf as a regular citizen of a unified Germany still shows no remorse and reminisces about the DDR when he runs into Dreyman at the theatre. The fact that throughout the film he shows no change in emotion or personality makes him a distinctly flat character.
A number of scenes create a summary relationship between the story timeline and the screen duration. The film begins in East Berlin around November 1984 and though most of the plot takes place during this time reference, the story’s full timeline is almost a decade long. The following scenes complement the narrative because they allow the viewer to understand the historical changes in the setting (for example – the fall of the Berlin Wall) and the changes in the characters (for example – Wiesler is demoted from Captain to letter opening clerk):
Scene 1 – The film identifies that 4 years and 7 months have passed. This scene prepares the viewer for change and allows us to understand that Wiesler has been in his …show more content…
downgraded post for a number of years. From a historical perspective, we know that Germany becomes a unified country and as such, we anticipate further change from Scene 1.
Scene 2 – The film identifies that another 2 years has passed from the fall of the Wall. It is clear that East Germany has now become a more democratic country and that information is more readily available. Dreyman visits the archives of all the files kept by the DDR on the citizens investigated. We understand in this scene the extent of the socialist government’s record keeping and distrust of its people. The scene presents the viewers with a fully open Germany not only in its public information but also in its culture and arts. It is here that Dreyman runs into Hempf and we see a major change in Hempf’s stature (but not his character). This scene adds to the impact of the link between Dreyman and Wiesler. Throughout the film, they never meet or share a single scene so when Dreyman discovers what Wiesler has done for him we see how in fact both men were disillusioned (Dreyman never thought his apartment was “bugged” or that a Stasi might help him) and hasten each other’s disillusionment.
Scene 3 – Another 2 years has passed since Dreyman went to find Wiesler and decided not to confront him. Wiesler walks by a bookstore announcing Dreyman’s new book, “Sonata for a Good Man” and its dedication to him. His final four words “It is for me” are impactful because through time passing, we understand how he never sought recognition for his kind acts.
Only a few scenes created a summary relationship because the story unfolds mainly in 1984, and the plot itself is linear with each scene naturally following. There is little confusion in timelines so that when the tension and the denouement arrive we are ready for it. We smile in the end when Wiesler buys the book dedicated to him because we understand how the passing of time, knowledge and aging has created a kinder gentler world in Germany.
Round Character
The character of Stasi Captain Gerd Wiesler is a round character in this film given his growth and changes throughout the story as well as the various emotions witnessed which include confidence, fear, doubt and seclusion.
Wiesler’s character starts the film as a colorless, tight-lipped state security officer who shows little mercy in fighting the "enemies of socialism". Clad only in gray button down clothing he is incapable of feelings giving you a sense that he is a robot of the system. Early in the film, he interrogates a suspect with little mercy to get a confession. His life seems to reflect his presence – drab and boring. At night, he returns to his small non-descript apartment in an anonymous high-rise.
As the operation to find culpable information on Dreyman advances, we see Wiesler awaken slowly as he listens in to the bugged apartment from the attic.
As he sits listening to the “lives of others”, he starts to see things differently while the pressure to find dirt increases. We see the change evidenced in scenes, which reflect his awakening and dilemmas. The scenes are: 1) Wiesler reading and enjoying the novel he took from Dreyman. The concept of literature having value is against all socialistic beliefs. 2) Listening to Dreyman play the piano sonata he is “moved” and touched by the music 3) when the boy with the balloon enters the elevator and states to Wiesler that he is not a good person according to his father Wiesler has a reflective moment and elects not to take the boy father’s name down. 4) Speaking to Christa at the bar and showing an ability to empathize with her needs.
Over time, Wiesler becomes the emotional centre of the story and the line between heroes and villains goes grey. Weisler risks his entire career as his attitude to his “subjects” changes from one of mistrust to one of near-adoration. He begins to envy the richness and depth of their lives in comparison with his own. He changes radically, and decides he longer wants to be a part of an unethical, inhumane system. He becomes the good man acknowledged by Dreyman’ book and in the end finally does something for himself. These events and changes reflect a round
character.
Flat Character
The character of Minister Hempf (Minister of Culture) is a flat character in this film. He is predictable in every scene, his characteristics do not change and he exists mainly to hinder the main characters. An example of this is the scene where Dreyman asks Hempf to consider removing Jerska from the government blacklist. Hempf questions why he would believe that people could change.
Hempf is portrayed with few defining characteristics other than his interest in keeping the status quo, promoting the socialist system and benefiting from this system personally. There is little complexity to this character. As a Minister, Hempf wants to continue enjoying the benefits of his position and ensure that the pyramid structure within the GDR government stays protected.
Throughout the film, Hempf does not stray from his role. He is a cardboard cutout of the socialist government’s top brass. He acts invincible, is ruthless in his needs including wanting Dreyman to go down so that he can have his girlfriend. He rewards those who help and punishes those who do not. In his final scene, Hempf as a regular citizen of a unified Germany still shows no remorse and reminisces about the DDR when he runs into Dreyman at the theatre. The fact that throughout the film he shows no change in emotion or personality makes him a distinctly flat character.