User reviews

It's a challenging task to depict a bygone era which hasn't yet passed into history, but is a living memory in the minds of many. Distant events may be easily interpreted at will, because no spectator can expect a minute reconstruction of a reality past. Adaptations of recent events, however, fall under close scrutiny of those who were actually there, and any attempt to 'tell the whole story' will invariably meet with criticism from those who feel left out of the picture, or who remember differently. It is therefore the best solution for the film maker to focus on atmosphere rather than events, and a simple story rather than a complex rendition of society as a whole. And that's what director/ screenwriter Christian Petzold does: he tells the story of a doctor, displaced from the capital to the province for an application to leave the country, and confronting an atmosphere of distrust while preparing her escape to the West. This routine of hostility is a little ameliorated by the interest of a male colleague, who may however be an assigned informer, and the friendship to a pregnant patient, who apparently escaped from a juvenile offenders camp only to be recaptured.

What makes me consider this film as far superior to the much lauded, Oscar-winning 'The Lives of Others' is that it does not sacrifice atmosphere to film making conventions. For instance, there is no music, because there was no music. 'The Lives of Others' tormented any actual witness of the times it described with a sappy soundtrack. It also did not correspond to my recollections of East Germany because it limited the supervision of ordinary citizens to the Stasi ('State Security') and its collaborators. It did point out that this supervision was omnipresent, but it created a division between good and evil which was slowly eroded from the evil side's end. 'Barbara', however, focuses on the way ordinary citizens, not intellectuals, were treated, and the fact that virtually everyone collaborated in the supervision of the individual, whether they were working with the Stasi or not. Barbara is fully aware of her situation, and tries to make friends with her colleague/informer André Reiser to win him over to her side, while at the same time not giving anything away about herself. Reiser, on the other hand, tries to gain her trust as a person, because he needs her competence at work and may be romantically interested in her, while at the same time fulfilling his obligations to report on her.

This constant game of hide and seek illustrates what Socialism was really like - a permanent grey zone in which you had to measure your steps carefully and no clear distinctions between good and evil existed, as 'The Lives of Others' would have you believe; and the young patient side characters show that quite a few cracked under this immense pressure. By focusing on one woman's story, director Petzold delivers an accurate portrait of the realities of life at that time: it did not matter whether you were good at your job or not, and being too good made you automatically suspicious, while being lazy made you the target of accusations of boycotting society; it was dangerous to open up to colleagues, because they would almost certainly be inquired about what you said, but at the same time it was dangerous to distance yourself, because then you'd be suspected of having something to hide. Everything was tactics, nothing was spontaneous, everybody wanted to get out, but chastised those who actually tried. This authenticity has probably prompted this film's selection as the German candidate for the foreign language Oscar 2013, but it may also have hampered its chances to win the Golden Bear upon its premiere at the Berlin Film Festival, where Petzold won the director's prize though. Realism makes for an accurate portrayal of the recent past, but for those who have not been there, 'Barbara' may be a bit too stiff and gloomy, because it does not compromise its authenticity to the expectations of (Western) audiences.

BARBARA may be a little too slow and humorless for many tastes, but it's one of those films that's so real it hardly seems like a film at all. You have to admire the stark realism here. Whether you want to go there or not, this film truly takes you to a secluded province of East Germany, 1980. BARBARA affords an acute look at the inside of a totalitarian state. While it doesn't show a whole lot in this regard, what it does is shown most effectively. The lack of any soundtrack--something I didn't even notice while viewing but that one of the reviews on Amazon pointed out--only adds to BARBARA's immediacy. Quietly immersing, with a real surprise at the end. Excellent cinematography and fine acting by all.

The story is set in East Germany in 1980, when it looked like Communism would last forever. Central character is Dr. Barbara Wolff, played by the classically beautiful blonde Nina Hoss, who I've previously seen in A Woman In Berlin. Dr. Wolff was a fast track young doctor at the Charite, the big teaching hospital in Berlin, before she fell in love with a West German businessman and applied for an exit visa. That got her a short spell in prison for ingratitude to the workers and farmers who paid for her medical education, together with a transfer to a one horse town in Mecklenburg, where she seems to be the second doctor in a two doctor pediatric clinic. We know all this because, as she is getting off the bus, the local Stasi man is going through her file with Andre, the head doctor at the clinic. Andre is what they used to call an Inoffiziale Mitarbeiter, or unofficial cooperator. We find out why later on. He's also an attractive, shambling 30 something bachelor in a kind of teddy bear way, a skilled, dedicated doctor with a good bedside manner, and, notwithstanding his work as an informer, a pretty decent guy by the standards of the time and place.

Barbara twigs immediately that Andre's an informer when he offers her a lift home from work on the first day. As they drive through an intersection in his piece of crap Trabant, she says, "you were supposed to ask me which way to turn, but then, you already know where I live." She is resentful, understandably so, and standoffish, which the clinic staff put down to stuck up Berlin attitude. That may have something to do with the open surveillance by the Stasi guy and regular searches of her apartment, complete with strip searches by a female agent. But Barbara is also a first class doctor who takes a real interest in her patients. Andre is quietly smitten -- if you've seen Hoss you'll know why -- and keeps chipping away at her resistance. Despite knowing who else he works for, she can't help responding.

What neither Andre nor the Stasi agent know is that Barbara is contriving to meet her Wessi boyfriend when he's in the East on business, and they're scheming to smuggle her out. He's crazy about her, even saying that he'd move East if she wants, but there are slight intimations that life in the West with him might not be exactly as she's dreamed of. In any event, there's a lot of sneaking about, and Hoss has a good line in tense body language and over the shoulder glances. Everybody knows everybody's business in a small town anyway, and in a small town in Mecklenburg, your landlady, your co-workers, or anyone you pass on the street could be an informer.

Complications ensue, involving Andre, the escape plan, and Barbara's obligations to two young patients in whom she has taken a special interest. I won't tell you how they play out, except that nothing goes quite as expected. The movie gives you a very good sense of a society in which everyone is compromised in some way, trust and intimacy are not really possible, but life has to go on nevertheless. It's not as showy as The Lives of Others, but it gives a better sense of what everyday life was like in the German Democratic Republic, where it has been estimated that there was one Stasi employee for every 165 citizens and one informer for every 6.5.

This brilliant German film explores two fundamental questions: whether it is possible to collaborate with a fundamentally oppressive state, and the acute degree of personal loneliness felt by those who cannot, and whom the state thereby treats as its enemies. The mundane depersonalisation of life under the Stasi is captured much more acutely, it seems to me, in this story than in the more acclaimed 'The Lives of Others'; that the leading collaborator is arguably a decent and attractive person, albeit one who has made different choices to the admirable but not wholly likable heroine, adds subtlety and humanity to the overall portrait of society. Both protagonists are excellent in their roles; the camera-work captures the underlying feelings of alienation in a way that reminded me of early Kieslowski. 'Barbara' is by turns bleak, poetic, emotional and thought-provoking: it deserves to be more widely known.

Looking back at 1980 East Germany director Christian Petzold conjures up a dreary Orwellian world of suppressed emotions, police state invasiveness and a simmering yearning for something better. The work of Cinematographer Hans Fromm creates an atmosphere of almost perpetual colorless twilight and Petzold's laconic scenes and long takes create a subtle but omnipresent feeling of oppression and paranoia.

In a beautifully understated performance Nina Hoss (Barbara) is a doctor whose desire to leave East Germany results in her being punished through relocation to a rural village clinic where she encounters clinic chief Ronald Zehrfeld (Dr. Reiser). Reiser appears to be sympathetic but she is reluctant to trust him. Jasna Fritzi Bauer is Stella a young girl who constantly escapes juvenile work camps seeking refuge at the clinic. Mark Waschke is Jorg a well-to-do foreigner who loves Barbara and offers to help her escape to Denmark where they can be together. Rainer Bock is a Stasi officer who periodically subjects Barbara to strip searches in an attempt to harass and prevent her from fleeing.

"Barbara" is a quiet character piece. It's a subtle, tense, humanistic drama not ideally suited for audiences of plot-driven pictures. Nina Hoss deserves serious consideration from the Academy as hers is one of the best performances by an actress this year.

It's 1980 East Germany. Dr Barbara Wolff (Nina Hoss) is new in the backwaters hospital. She has isolated herself from all her colleagues. The secret police Stasi is keeping track of her for applying for an exit visa and she lost her job at a prestigious hospital in East Berlin. She can trust nobody even the chief doctor Reiser. There is a patient named Stella that has developed an attachment to Barbara. She is pregnant and is desperate to flee to the West.

I love the idea of this story. This should be a tense thriller of paranoia and fear. Instead this is slow moving, reserved emotionally and quiet. The long takes, medium shots, and the stoic performances strip the movie of its tension. The fact that she is holding her feelings so tightly may be fitting for the story. It doesn't always allow people to feel her fears. It's a specific way to do this story and it works on that level.

The premise for this movie had me very excited when I saw it was part of my Sydney Film Festival subscriber pack. And indeed, it is nicely made, has good atmosphere and is well acted with everyone looking their part. Despite this it falls short of its promise and potential.

Fundamentally, this is a story with too many clichés and an obvious ending that can be picked too early. This diminishes the excellent opening and early scenes. Some of the characters are too exaggerated; especially one overly humble and humanitarian. For me, the medical information, including a particularly speedy diagnosis and some treatments weren't quite on the mark either, but that's more easily forgiven.

If it's a wet cold Sunday and you're looking for something easy to watch, then this will do well enough; but it won't change your life or reveal anything new about life behind the iron curtain.

Barbara (2012)

A somber, tightly scripted, almost old-fashioned film. I can picture this in black white, or a movie not only set in 1980 but shot then, too. I mean this all as a compliment.

It's key to know that this is Communist East Germany, a closed country under Soviet influence and generally struggling to keep up with West Germany. The doldrums depicted, and the lower quality of medical care at this small provincial clinic, are very real.

The title character is a downtrodden doctor who was caught trying to escape to the West, and was sent to the boondocks as punishment. And she is periodically searched by the authorities, who go through her apartment, her body cavities, her entire personal life while she passively waits. It's awful. And very real.

There is a steady vague story line showing Barbara's contacts to sympathetic Germans, and it seems one or two of them are visiting now and then from the West. Clandestine meetings with money (and sex) continue in the woods, but these are minor points in her steady work as a doctor in the clinic.

More important, it turns out, is the cute and steady-handed male doctor who runs the clinic. She doesn't trust him. If he asks questions out of curiosity she isn't sure if he's a spy or just a nice guy. We aren't sure either. His life is simple and has simple pleasures, and he likes her and tries to make her open up and actually smile, which turns out to be the hardest thing in the whole movie.

Barbara's plans to escape seem to be threatened by her job commitment, which she can't shirk because it'll draw attention to her irregularities. And so things go in this windy, North German countryside. It's so beautifully, patiently wrought, you have to watch and wait, just as passively as Barbara. It's sad, for sure, and yet there are these small glimmers. For one thing, there is the idea that no matter what your circumstances there is always the ability to be good and to do good. The male doctor is the example of this, and Barbara begins to see something more genuine at work than her own superficial (we assume) strivings for a consumerist West.

It's odd to see such a balanced and yet truthful view of Communist Germany. The oppression is real and bad, but the strivings of regular people (doctors and others) make hope possible. I loved this movie, even though fairly little happens, and there are few turns of the plot that are clearly for dramatic impact more than an integral building of character. But these are small caveats. The total effect is simple and penetrating, with a beautiful ending.

Finely directed character study draws a well-observed, realistic depiction of Eat German society and life in the 1980s, a somber melodrama with a touching ending; Nina Hoss is fully convincing in the title role as a woman trapped in the restrictions, but also silently fighting against them.

It looks like THE LIVES OF OTHERS is going to spearhead a cycle of films about victims of the East German secret police and that sounds like a good subject along the lines of the US conspiracy thrillers. This one has an interesting enough premise. Out of favor doctor Hoss (THE WHITE MASSAI) is sent to a provincial hospital, where the friendly fellow medico may be keeping a report on her. The official who keeps on calling in the lady with the rubber glove to do cavity searches certainly is.

The sub-plot of the teenage girl from the socialist work camp is strong enough but the way things are wound up is not all that convincing and tension has slacked by then.

Production values are good enough but the film lacks the feeling of time and place that would make it register.

"Barbara" is set in the East Germany of 1980. The title character is a young doctor who has fallen foul of the authorities because she has made an official request to emigrate to the West to be with her West German lover. Making such a request was not, officially, illegal, but it has earned Barbara the suspicion of the authorities. She has lost her job at a prestigious Berlin hospital and has been transferred to a small rural hospital near the Baltic coast. She is kept under regular surveillance and is subjected to regular searches by the Stasi, the East German secret police. Although the Stasi never find any evidence, Barbara is secretly making plans to escape to the West with the help of her lover Jörg.

The two other main characters are Barbara's boss Doctor André Reiser and a young girl named Stella, a patient at the hospital. Although Reiser seems friendly, he makes little secret of the fact that he is an informer for the Stasi. (He claims to have been blackmailed into accepting the role, but Barbara doubts the truth of his story). Like Barbara, Stella has committed no actual crime, but is nevertheless fallen foul of the authorities, who regard her as having an anti-social attitude, and she has been incarcerated in a labour camp for "re-education". (Communist Newspeak for "punishment when you haven't actually done anything to be punished for"). It is hardly surprising that Stella loathes everything about East Germany and is even more desperate to escape than Barbara.

1980 was less than a decade before the fall of the Berlin Wall, but at the time the East German regime, like Communist regimes all over Eastern Europe, seemed as secure as ever. Whatever revolutionary idealism the regime had once possessed had long since evaporated as Communism evolved into what George Orwell described in "1984" as "oligarchical collectivism", a strongly hierarchical system where those at the top of the pecking order used their position to secure privileges and material advantages for themselves, and protected their position by repression and the use of the ever-present Stasi to root out dissent.

As another reviewer has written, Barbara as played by Nina Hoss is admirable but not wholly likeable. There is something cold and aloof about her, as though her experiences have taught her not to trust anyone. The use of the Christian name Barbara, which literally means "strange, foreign", may have been deliberate, as she is very much an outsider in her society. Even with Jörg we wonder if her feelings for him are rooted in love or in a desire to escape the system. Only with her fellow dissident Stella does she seem to unwind and be herself. André, who as a tool of the oppressive system is far from admirable, paradoxically seems warmer and more human, although Barbara keeps her distance from him. It is notable that she always addresses him with the formal "Sie" rather than the more intimate "du". This is a point of German linguistic etiquette which will probably lost on English-speaking viewers who can only understand the subtitles, but the implication is that she does not wish to get close to him. The more admirable side of Barbara's character becomes clear when, at the end of the movie, she makes a startling decision. Both Hoss and Ronald Zehrfeld as André play their parts very well.

Over the last few decades, the German cinema has made sterling efforts to come to terms with the legacy of the country's Nazi past. Christian Petzold's film can be seen as part of an attempt to come to terms with another, and more recent, dark side of the nation's history. The film is not an easy one to watch, as it captures the atmosphere of fear, suspicion and paranoia which afflicts all those who have the misfortune to live under a totalitarian system, as well as the bleak shabbiness of Eastern Europe before the Wall came down. Yet it well repays the effort of watching it. 7/10.

In the 80's, In East Germany, Dr. Barbara Wollf (Nina Hoss) is transferred from the prestigious Charité Hospital in Berlin to a small hospital in the countryside after being imprisoned. She is still under the surveillance of Stasi and submitted to frequent inspections and strip searches. The hospital is led by Dr. Andre Reiser (Ronald Zehrfeld), who is gentle with her and forced to prepare reports about Barbara or any other suspicious person to a Stasi Agent. He confides to Barbara he was sent to the hospital because of an accident with incubators from New Zealand when two babies were blinded, and Barbara questions whether is true or not but he does not respond her. When the police bring the teenager Stella (Jasna Fritzi Bauer) to the hospital for the fourth time, Barbara finds that she has meningitis and Andre that she is pregnant. Stella wishes to escape from East Germany and raise the baby, but she is sent back to a labor camp when she recovers. Barbara is planning to defect East Germany with her lover Jörg (Mark Waschke) to Denmark and he gives money to her to prepare the departure. When the suicidal Mario (Jannik Schümann) arrives at the hospital, Andre believes he needs a brain surgery and asks a second opinion to Barbara. When Barbara talks to Andre's girlfriend, she realizes that he needs the surgery and looks for Andre to tell him. Meanwhile Stella flees from the labor camp, and Barbara will exit East Germany this night.

"Barbara" (2012) is the third great film by Christian Petzold that I have recently seen (the others are "Phoenix" (2014) also with the magnificent Nina Hoss in the lead role, and In Transit (2018)). All the three movies are about love in time of oppression and "Barbara" shows the life of a medical doctor in the East Germany in the 80's. The humiliations she is submitted with the body cavity searches are revolting and a clear type of control of the human life. Dr. Andre Reiser is an informer of Stasi and is attracted by Barbara but respects her as a professional. Both have passion for medicine and treating the patients, and her final decision may not surprise the viewer. I believe Barbara may have realized in the end that Jörg intends to "buy" her, like his friend did with the prostitute she talked in the hotel. My vote is seven.

Title (Brazil): "Bárbara"

I visited Eastern Europe, Berlin, Prague, and Budapest, in March 1990. At that time, the Berlin Wall had already been fallen down, but Germany had not reunited yet.

People could freely come and go over the borders between East and West Germany. I went through Checkpoint Charlie to East Berlin, and I visited retro-future TV tower and saw Ladas running on street.

In a night train from Berlin to Prague, I asked a passenger who sat next to me if Germany would reunite in a year, and he answered that he didn't believe it would happen so early. In fact, Germany reunited in October 1990.

Although I actually visited East Berlin, now, it is hardly for me to believe that the half of Germany was a communist state just twenty-three years ago.

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"Barbara" is a German film about people living in East Germany in 1980. Barbara is a female doctor, who was watched by the secret police.

It is one of the greatest German films that I have ever seen. There is no exaggeration and omission in this film. Every element in it is necessary, and I couldn't find that any things were unnecessary.

This film is very quiet, because there is no background music. That makes audience concentrated in every tiny sound. Barbara was always nervous about the secret police, so she got surprised when the doorbell started to ring, and the audience also got really surprised with the sound of the doorbell, and fully understood her emotion.

Nina Hoss, as Barbara, was also great and attractive. She didn't overplay at all, but accurately expressed how Barbara felt in her mind. After seeing her performance, most actors and actress became to look unnatural.

This film is a quiet, simple, and elegant. If you love films, I strongly recommend you to see it.

Yes, I worked in the old DDR. Living in London, and being a graduate engineer able to speak German, I was hired by a company importing machinery from the DDR to be their liaison man at the factory in East Berlin, and spent a number of lengthy periods over there in the late 60s and early 70s. I very much settled into working life there, and would socialise with the other engineers at the factory. I even had a local girlfriend for a while! I recall the mindless bureaucracy, the often petty limitations on what everyone could do, and of course the ubiquitous police presence. In order to have my car to get around during these long tours of duty, I would usually take the ferry and drive there, and on one occasion I got harangued by a cop who told me my car was too dirty and that having a dirty car was strictly forbidden in the DDR!! This movie depicts an era a decade later, and some things had changed. I remember many older people expressing considerable enthusiasm for their 'socialist utopia', largely because they felt their lives were massively better than under the Nazis and during the war years. But there was also a rising generation who wanted what people in the west had, a desire which had a particularly curious form of expression in Levi jeans! These were like gold dust, and sometimes at weekends I would pop through Checkpoint Charlie into West Berlin, and buy half a dozen pairs to give to my friends. Barbara and André were very much of that generation, Schütz was distinctly of the old guard. So for me, the movie played out against a familiar background, and the agonising personal decisions this forced upon the central characters had great reality. Both Barbara and André were portrayed very much as caring doctors, placed in intolerable situations by the heavy and unfeeling hand of the state. The movie very cleverly kept us all in the dark, as we speculated how it might end. Well worth watching to find out!

"Barbara" is about a lady doctor who was sent away from Berlin to practice in a small town. She was very aloof and suspicious of everyone in her new hospital, including her friendly colleague, Dr. Andre. She kept to herself most of the time, riding a bike to and from work.

Unknown to her co-workers, she is visited by some seedy characters, one of them a lady with gloves. She also does some mysterious side trips, burying money under rocks, and meeting a boyfriend for some secret romantic liaisons.

Having no background as to what this film was all about, the first of the film felt like a spy thriller, with intense suspense being built up. I was really waiting for something explosive to happen by the second half.

However, this whole film turned out to be a dramatic endeavor set during the 1980s when there was still a wall between East and West Germany. It was about the moral dilemma tearing Barbara up. On one side, she wants to defect and be with her boyfriend in the West. On the other hand, she is already getting used to her quiet countryside practice, especially getting attached to young troubled patients like Stella and Mario.

So at the end, there is still suspense, albeit a quiet kind, which is still well worth staying around for. However the slow pace of the film, all talk with lack of action, may not sit well with impatient audiences.