Hagen bogdanski biography of mahatma gandhi

  • I first met Bill at NYU when he started as a resident, all hungry for knowledge and with a relentless energy.
  • Set in the 11th century and revolving around a young Englishman who, enthralled by the potential of the then-radical medicine practiced in the.
  • Scriptwriter Jan Berger (“We Are the Night,” “The Door”) adapted the hit novel; cinematography was in the hands of Hagen Bogdanski (“The Lives of Others”.

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      by Allan Fish

      (Germany m) DVD1/2

      Aka. Das Leben der Anderen

      For HGW XX/7

      p  Quirin Berg, Max Wiedermann  d/w  Florian Henckel von Donnersmarck  ph  Hagen Bogdanski  ed  Patricia Rommel  m  Stéphane Moucha, Gabriel Yared  art  Silke Buhr

      Ulrich Mühe (Hauptmann Gerd Wiesler), Sebastian Koch (Georg Dreyman), Martina Gedeck (Christa-Maria Sieland), Ulrich Tukur (Oberstleutnant Anton Grubitz), Thomas Thieme (Minister Bruno Hempf), Hans-Uwe Bauer (Paul Hauser), Volkmar Kleinert (Albert Jerska), Matthias Brenner (Karl Wallner), Charly Hübner (Udo),

      Strange that it should be a film so totally disconnected as John Boorman’s Excalibur that comes to mind when I first put fingers to keyboard to describe von Donnersmarck’s magnificent Oscar winning debut.  It’s because his film goes to prove that, though Nicol Williamson’s Merlin was right to exclaim that evil is “where you never expect it &#; always”, that equally as often, good is also where you never expect it.  To w

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      The Physician

      The strange and often unwelcome cottage industry of English-language European-made historical fiction productions continues with Philipp Stölzl’s The Physician, an entertaining enough adaptation of Noah Gordon’s novel hampered by humdrum plotting and a ludicrous failure to cleave to any semblance of real cultural history. Set in the 11th century and revolving around a young Englishman who, enthralled by the potential of the then-radical medicine practiced in the Middle East, sets out on a vast pilgrimage to meet and study with the renowned Ibn Sina – the real figure of Avicenna – the film’s beginnings frame it as a worthy attempt to channel Kingdom of Heaven and the thousand other sword-and-sand quasi-historical works of the last decade, but to refrain from their often orgiastic body counts in favour of an exploration of the history of ideas. It soon becomes clear, though, that The Physician lacks the commitment to going against the cinematic grain required

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