Szabo doesn't take sides on conductor's life under Nazism

MUMBAI: Every mistake theInternational Film Festival of Mumbai has made, is making and will make, will beforgiven for opening with Hungarian maestro Istvan Szabo''sThis extraordinarymasterpiece has covered the festival with glory and full credit to festivaldirector Sudhir Nandgaonkar and his team for securing this new film, which isstill to be released around the world. It is always difficult to securenew, good films for festivals in a country like India, where there is such aminuscule market for international non-mainstreamcinema.explores theethical dilemmas of an artist under Nazi rule. It is based on the real-lifestory of German conductor Wilhelm Furtwangler (Stellan Skarsgaard), who stayedon to conduct the Berlin Philharmonic during Nazi rule, helped a number of Jewsescape, and was later investigated by an American de-Nazification committee,represented by Maj. Steve Arnold (Harvey Keitel).What is marvellous aboutthe film is not only brilliant portrayals by the key protagonists, a greatscreenplay and superb cinematography. It is also how wonderfully the director, aHungarian, with his own burden of German history, draws out the greycomplexities of the arguments that damn and redeem Furtwangler, leaving you inthe end, to make up your own mind—and damn hard it is too.You couldargue, as Keitel does, that he collaborated with the Nazi regime: he was on thePrussian privy council, accepted Nazi privileges and played atHitler''sbirthday.Or you could argue, as many Germans do: What options does a manhave who does not want to give up his motherland, his family, his language, whodefied Hitler by refusing to salute him, and who helped Jewsescape?Still,when the German assistant protests, "We didn''t know what washappening" (during Nazi rule), Keitel''s question, "Then why did the Jews needsaving?" is only answered with a burning silence. The film soars above thenitty-gritty of its arguments, validating them for all people who see themselvesforced to compromise in various degrees.Szabo''s characters are the epitomeof clashing civilisations: the uncouth, uncultured, go-getting American (Keitelcalls Furtwangler ''that band leader'') who cuts to the chase and demandsaccountability for collaborating with a mass murderer, contrasted with theoutrage the two German assistants feel during the investigation because a manrepresenting their lofty musical heritage is humiliated—it is a gash intheir umbilical cord to classical music.The climax shows archival footageof Furtwangler wiping his hands, as if of guilt. But in the final scenes, asFurtwangler goes down the stairs, broken but not convicted, the German assistantplays a record of Beethoven he has conducted, in silent solidarity. Furtwanglerpauses in his tracks as the music resounds throughout the building, creating oneof the finest moments of cinema—as usual, without words.Polishmaster Andrzej Wajda''s The Promised Land, explores compromises of a differentkind. Taking on a large canvas, it follows the dramatic fortunes of threefriends—Polish, German and Jewish—in the cotton-textile business in19th century Poland. It is told in his trademark style, including vintage Wajdacracks at religion ("Protestant churches look like they are closed for business.The Pope? Now there''s a good company.")Mikio Naruse''s Mother (Japan, 1952)is a marvellously evocative film about the never-ending sacrifices a mothermakes for her family in post-war Japan. Widowed and poor, she is forced to giveup a daughter for adoption, allows her husband''s friend—who helps her runtheir laundry business—to go away because her daughter resents herdependence on him.Even as she sees herself ageing alone, she still findsit in her to play sumo wrestling with her little nephew. What could easily havebeen sentimental is given such grace and dignity by the understatedperformances. An everyday human story movingly told, a ''50s precursor to whatIranian cinema has made currently fashionable.The festival runs untilNovember 28. Other recommended films include Nanni Moretti''s The Son''s Room,Silvio Soldini''s Bread and Tulips, Sumitra Bhave and Sunil Sukthankar''s VastuPurush, the French Cahiers du Cinema package and Safina Uberoi''s My MotherIndia. But we''re keeping our eyes peeled for surprises.Stellan Skarsgaardas German conductor Wilhelm Furtwangler in Istvan Szabo''s'' In'''', Istvan Szabo, aHungarian, with his own burden of German history, draws out the greycomplexities of the arguments that damn and redeem Furtwangler, leaving you inthe end, to make up your own mind