A somewhat typical coming-of-age story intersects a Holocaust drama in “The Reader." In post-World War II Germany, teenager
Michael Berg begins a superficial, physical relationship with 30+ year old Hanna Schmitz. Their repeated meetings do not equal
emotional intimacy. Hanna’s attempt at an emotional bond is when she asks that Michael read to her before and after their mechanical gymnastics. Continually referring to the boy as “Kid” demonstrates Hanna’s discomfort at intimacy. The unusual couple remain intimate only one summer, undoubtedly making the costume designer happy. A lack of apparel in early scenes becomes tedious. Years later, as a fully-clothed, law school student, Michael learns of Hanna’s past as a concentration camp guard. On trial for war crimes, Hanna fails to reveal a fact that would mitigate her sentence. Michael knows this secret, contemplates publicizing it, yet ultimately maintains his silence. Rationale for his reticence remains unknown, just one of several instances that fail to provide a link between motive and action. Leaps in logic are demanded from the audience, preventing the film from being great. It has a strong premise, but an unrealized potential.
Despite some flaws in characterization, Kate Winslet excels as Hanna,
generally stoic and subdued. As teenage Michael, David Kross expertly conveys the character’s naiveté. Sadly, the rather tepid character is uninteresting. Having little screen time, the excellent Ralph Fiennes (the older Michael) is wasted. Strong acting cannot prevent the emotional disconnection from the protagonists. Neither Michael nor Hanna seem worthy of sympathy. The film ends with little or no concern generated for either character. Only a couple of minor characters ignite dramatic, emotional fire. Lena Olin’s portrayal of a Holocaust survivor supplies depth to a very limited role.
Spanning the years from 1958 to 1995, “The Reader” can be seen in three-acts from Michael’s life: post-war, law school and adulthood. Not a documentary, the film presents dramatic changes in German society, post-war to 1990’s, superficially. Periodic jumps in time, lacking smooth transition, are not very confusing. These chronological manipulations just fail to benefit the film, a small weakness.
Exterior filming generally occurred during rain or snowstorms, enhancing the mood and reflecting the plot’s seriousness. Despite such meteorological assistance, “The Reader” sadly misses reaching the cinematic stratosphere.