Directed by: Andrzej Wajda
Actors: Hanna Schygulla, Piotr Lysak, Armin Mueller-Stahl
Country: Germany, France
Also known as: Eine Liebe in Deutschland, Un amor na Alemanha, Une amour en Allemagne
Description: The beginning of the forties, the German rural hinterland. The men went to war in the villages remained women, the elderly, and brought from the East to the rural works poles. Local ballisticheskaya idyll, slightly embellished to order swastikas collapsing after the scandal — housewife vegetable stalls entered into a love affair with pole working next. Broken immediately a half-dozen laws, unwritten — yet-husband on the front and clearly stated the newest racial legislation for the connection of Aryan women with the subhuman Aryan — a concentration camp, the subhuman — hanging.
Difficult genre to define this little known film Wajda. Most likely it fits the concept of tragicomedy. The first half of the film is romantic, devoted twists and turns of love, looks rather vague. It is felt that the Director was not used to describe love stories and sweet pleasures of love, and all the first part is just wired to the second — polubesova, with ridiculous attempts of the local rural Gestapo, kindly, in principle, of people, to cover up the scandal, hastily “Anisimova” Polish Romeo. Antics, grimaces, uniform uniforms funny looking on a country Bumpkin, an attempt to measure the skull to the defendant and stupor a local doctor who first faced with racial miracle of science, the surprise when the pole refuses to classify themselves as being “superior race”, inconsistent preparation for later execution, perhaps the first in a long time in the district, problems with the rope, and executioner, which is urgently necessary to look.
The moral of “Love” is simple — the inhuman and absurd laws disfigure ordinary people, who, however, grunting, from natural inclination for order and perform them to obey the absurd morality dictated, half-crazed with power. However, the law is the law, need Samaras, to perform unpleasant formalities to again sit in the Kafkaesque grotesque, forgetting and covered the land of doubt and unpleasant experiences.
The behavior of the common man in a totalitarian society, forcing him to accept the ordinariness of lying, accusation, and betrayal have long been interested in the capital and not just reflected in his paintings. This topic is studied in nature and in “Love in Germany”, which is not so much about love as it is about the simplicity and ordinariness of evil, quickly sprouting from the human soul.