Before the Fall (2004)

BEFORE THE FALL ('NAPOLA') is a brilliantly made film that addresses the blind hopes of youth in becoming a success as a man, a factor that allowed and allows dictators to entice young men into the realm of warriors under the guise of applauded bravery and the golden promise of achieving glory for a great cause. This story just happens to be about Hitler and his 40 Napola (training camps for the elite German youths in 1942) and the young boys and men who trained in these National Political societies. It could be found in many places and in many times...

Friedrich Weimer (handsome and talented young Max Riemelt) comes from the lower class in Germany (his father is aiming him toward factory work) and is a fine young boxer. His talents are noted by some representatives from the Nazi party and he is asked to report for enrollment in a Napola, an important means of education and training that Friedrich sees as being his way to become something special, someone important. His father is anti-Nazi and refuses to let Friedrich go, but Friedrich is determined and runs into the night to join the Napola. Once there he is admitted, groomed as a boxer for the Napola, and introduced to the Hitler's youth movement. His fellow classmates vary from the very wealthy to other fine Arian lads. They are trained, observed, and brainwashed as to the glory of the Thousand Year Reich. Problems begin to arise when Friedrich gets to know his fellow classmates: Siegfried (Martin Goeres) is a bed wetter and is humiliated publicly for his problem; Albrecht (Tom Schilling) is a poet and writer whose father is one of the governors of the Napola and Albrecht is anti-war; other lads seem on the surface to be obedient yet most have hidden reservations about what they are doing.

Being 1942 some changes are occurring in the Nazi dream and the Senior class is sent out on a mission to fight the enemy. And one night Friedrich's class is called out of bed and sent into the woods to find Russian soldiers who are 'threatening' their security. The boys open fire on the Russians only to find that they have killed a number of unarmed Russian boys. This profoundly disturbs them all, but Albrecht in particular. Friedrich continues to observe the manner in which he and the other boys are used and slowly his best friends find ways to martyr themselves and ultimately Friedrich does the same in his only way - by changing the way he approaches the Napola expectations of his boxing.

Max Riemelt as Friedrich is outstanding: not only does he have the solid extraordinary good looks but he also can act, satisfying every nuance of this challenging role. The remainder of the cast - both young boys and the adults running the Napola - are superb. The cinematography is subtly beautiful, ranging from the tough interiors inside to the vistas of a Germany before it was destroyed by the not too distant fall. Director Dennis Gansel, who co-wrote the script with Maggie Peren, is a young man (the featurette with the DVD has an enlightening conversation between Gansel and Riemelt) knows exactly how to capture both the wide-eyed innocence of youth and the slowly crumbled ideals of young men. This is an outstanding film to see and experience. Its lessons are terrifying and intense. In German with English subtitles. Grady Harp

Fmovies: NAPOLA is on screen in a German Film festival touring Australia and like DOWNFALL may get a proper cinema release. It is certainly a commercial film. Not unlike Dead Poets Society but in a Nazi sports academy instead, NAPOLA features an exceptionally good looking cast and really absorbing locations and detail. I found it quite an experience to sit with a largely German audience, many of whom were clearly old age couples and a lot of 30 somethings who were Jewish. Those Anglos like me and my friends enjoyed the atmosphere provided by the audience as much as this very well made film. It is the first time ever I have been able to really feel (what I have always only imagined) a true sense of the thrill that German WW2 teenagers had by joining an elite Nazi regime, their sense of belong to something that was glorious and encompassing. Some more brutal elements from the teachers and Nazi hierarchy I personally found not too far removed from my experience of Catholic school in late (anti-vietnam) 1968! Sorry about that but it really did. Another person commenting on this page is angry that the film is misleading from his genuine Napola experience and it is well worth reading his comments as he was actually there in 38-42. I am sure he would know. However for today, NAPOLA needs to speak to a new audience and present an experience in a new and idealized way to people who have only imagined what it was like; I think the film must fit that in order to succeed as a film in 2005. I found that acceptable. There is many strong physical and emotional scenes, the teen casting is quite ideal and the castle location is eerie and medieval and exactly what I have seen in Hitler Youth Documentaries: turrets, Nazi flags, flames, stone walls etc....it all looks evocative and thrilling in cinemascope. For a 20 something audience this film succeeds well for them, those older might see it as a Nazi pantomime with overtones and snowy style of "The Emperor's Club" or "Dead Poets Society". But for a look into a thrilling and brutal world of elite Nazi sports and harsh idealism, NAPOLA is a very commercial and visually successful film. One sensational scene under the ice on a lake is right out of DAMIEN OMEN 2 and a bit of TITANIC thrown in as well. It is a great scene and quite heartbreaking. The use of snowflakes is particularly emotional in several scenes. If NAPOLA gets a commercial release I would certainly suggest you see it, it delivers what we as an audience want to see in a Nazi teen movie, especially with ideal casting and production values. I also find it quite interesting to see modern German film makers explaining the Nazi past in what seems to be a brave attempt at being honest about its seduction of morals and values and visual excitement.

Napola is a disturbingly intellectual movie. The more you think on the message; the more disturbing it becomes. It is actually very scary the normality of the 'education', and shows the ease to which the standard human being can be nurtured into whatever the government wishes to instill. Very poignant in todays current affairs!

The movie itself has a lot in common with 'Dead Poet's Society', ergo the journey of self-discovery and one's place amidst the strict paradigm of expectancy. Complete with tragedy and the strong hint of insidious cruelty, Napola is not a superficial standardised 'Hollywood' outing (thank goodness).

The facts at the end of the movie were amazing in their ability to encapsulate the futility and warn against brainwashing of a nation. May more people be aware of this practice so the 'real' terror be rightfully and publicly rebuked.

Before the Fall fmovies. Contains slight spoilers.

This is one of a new breed of German films (like 'The Downfall') that takes a new look at the Nazi period. It is not afraid to show how attractive Nazism actually seemed to most Germans at the time and to show 'nice' characters happily giving the Hitler salute. Not that the film is in any way pro-Nazi -- quite the reverse.

Here we have a story about an élite school for future Nazi leaders. A working-class boy who is good at boxing is given a place there, where he makes friends with the sensitive son of the local Nazi leader. The brutality of the system eventually pushes both of them to become outsiders. Two suicides tellingly punctuate the story.

The acting is outstanding throughout, especially by the young stars of the film. Max Riemelt is particularly good as the boxer. The character is meant to be a doer rather than a thinker, unlike his friend, but Riemelt manages the transition from easy-going and rather empty-headed Hitler youth to someone who is prepared to stand against the inhumanity of Nazism.

The plot contains some powerful dramatic set pieces, such as the scene with the hand grenades and the one where the students dive under a frozen lake. These are brilliantly handled by the director and screenwriter, Dennis Gansel. He manages to bring out the full drama of them without overdoing it or lurching into melodrama or pathos.

I'm not generally a great fan of German films, many of which tend to be either self-consciously arty or trashily commercial. This is the best one I've seen since Das Boot.

The subject matter is not unfamiliar - a decent German (in this case a talented young boxer) fights to retain his humanity in the face of Nazi pressure to lose it as a bad habit. At heavy cost to himself he refuses. And thinking back to the beginning of the movie we should not be surprised: to accept the invitation to attend an elite academy he must defy his father. To maintain his self-respect later on he must defy the surrogate fathers he has acquired at the academy.

This a superbly produced, directed film. The young actors' performances are believable and affecting. And for people who care about such things, Max Riemelt as Friedrich, the young, virile, gorgeous protagonist is a very easy guy to look at. Jim Smith

This film which depicts an elite Nazi teenage male youth training facility takes place in Germany during 1941 or 1942. Students are being trained to become future leaders after Germany wins the war. Much of the training is brutal. Students are taught to win regardless of any pain that their actions might cause their fellow man - whether friend or foe, fellow countryman or enemy. The film tells how the students accept or reject their training and the consequences of their decisions/indecisions.

I saw this film at the 2005 Palm Springs International Film Festival at a "Best of Fest" special showing. It certainly should be a candidate for an academy nomination as "Best Foreign Language Film" but I do not know if it has a distributor for North America. It reminded me somewhat of a 2003 Palm Springs festival entry - EVIL/ONDSKAN (Dir. Mikael Hafstrom/Sweden) - which also packed an emotional kick in the gut that left me stuck in my seat for at least five minutes after the film had ended. Napola is the better of the two films by far. Great acting, script, direction, music, etc. See it on a big cinema screen if at all possible since film makes great use of the colors that will not have a similar impact in a video format.