“愛は本に託された”
1958年、ノイシュタット。15歳のマイケルは偶然から知り合った年上の女性ハンナに誘惑され、彼女に童貞を捧げる。ハンナの部屋に通い出すマイケルだが、彼女から頼まれ、「オデュッセイア」「犬を連れた奥さん」などの古典小説を彼女に朗読するように。そんなマイケルが彼女との愛が深まったと感じた時、ハンナは突然、彼の前から姿を消してしまう。8年後、法学生になったマイケルがハンナと再会したのは意外な場所だった。
製作費: $32,000,000 (48億円)
興行収入: $108,902,486 (163億円)
推定収支: $76,902,486 (115億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Stephen Daldry
脚本: David Hare / Bernhard Schlink
音楽: Nico Muhly
制作: ドナ・ジグリオッティ / アンソニー・ミンゲラ / シドニー・ポラック
撮影監督: Roger Deakins / Chris Menges
制作会社: The Weinstein Company / Mirage Enterprises / Studio Babelsberg
David Kross is really effective in this tale of a young boy ("Michael") who encounters "Hanna" (Kate Winslet) as he shelters in her doorway from a rainstorm. In fairly short order, this fifteen year old boy becomes her lover; in return she gets him to read to her. He is soon infatuated and devastated when he turns up at her apartment one day to find her gone. Skip on thirty years or so and he - now Ralph Fiennes - takes over a retrospective of her story as we discover she was tried for being a particularly nasty Nazi prison camp guard and she is sentenced to life imprisonment. Throughout her internment, the two continued to correspond - he would send her tapes to aid in her learning to read... Stephen Daldry has created a delicate masterpiece here, I think. Winslet is very much on form as the story goes from a bit of sexual fantasy for the young man, through to a far darker, more horrific, second part. There is something unnervingly natural about Winslet's performance; from the playful and generous - though temperamental - lover for this naive young boy, then the odious and distinctly unrepentant, almost belligerent, woman at her trial. Despite that, somehow, Daldry manages to elicit just a grain of sympathy for her. Was she inherently bad or just inherently weak - or both? Did she crave for affection just as much as the young "Michael" did when they met? His story is one of emotional barren-ness growing up in a large family where his relationship with his father was distant and chilly and the young Kross really does shine in the role. There is plenty of sex at the beginning, but it's not gratuitous; it's exploratory - for both of them and that intimacy also adds richness to what is ultimately quite a sad tale that, though thought-provoking when it comes to the whole concept of forgiveness and reconciliation, did make me realise that so many people caught up in the Nazi machine were ill-educated and frightened. It's also worth noting the subtle role played by Bruno Ganz as his legal professor "Rohl". This is a character who proves to be a crucial conduit for the young man as he has to come to terms with what he thought she was, and what he now knows she became. The pace of this production is measured, the photography frequently intimate and lingering and the attention to the detail from the production designer also adds potency to this visceral and touching story that I really did find well worth a watch.
I didn't turn this movie off after the beautiful sex scenes only because two others were watching it with me. The mere fact that "Germans" were speaking English totally destroyed the whole "suspend disbelief" for me. This film is an awful rendition by Brits of an award-winning German book. Perhaps, only someone from the Nachgeborenen (to coin Bertolt Brecht's meaning of German post-Holocaust generations) should have made this film. The two stars are for Winslet and Kross. The rest sucks.
The Reader blends a controversial romance with post-war German guilt, presenting a layered, emotional story carried by powerful performances and thoughtful direction. Despite some logical gaps, the film succeeds in portraying personal and societal struggles through its characters' trauma and secrets. It’s a compelling watch for those drawn to slow-burning dramas with moral complexity. Read the full review here: (Indonesian version : alunauwie.com) and (English version : uwiepuspita.com)
