Mephisto (1981)

Director:

István Szabó

Writers:

Péter Dobai (writer)
Klaus Mann (novel)

Release Date:

22 March 1982 (USA)

Genre:

Drama

Plot:

A German stage actor finds unexpected success and mixed blessings in the popularity of his performance...

Plot Keywords:

Interracial Relationship | Actor | Communist | Historical | Nazi

Awards:

Won Oscar. Another 9 wins & 2 nominations

Cast

Klaus Maria Brandauer	...	Hendrik Hoefgen
Krystyna Janda	...	Barbara Bruckner
Ildikó Bánsági	...	Nicoletta von Niebuhr
Rolf Hoppe	...	Tábornagy
György Cserhalmi	...	Hans Miklas
Péter Andorai	...	Otto Ulrichs
Karin Boyd	...	Juliette Martens
Christine Harbort	...	Lotte Lindenthal
Tamás Major	...	Oskar Kroge, színigazgató
Ildikó Kishonti	...	Dora Martin, primadonna
Mária Bisztrai	...	Motzné, tragika
Sándor Lukács	...	Rolf Bonetti, bonviván
Ágnes Bánfalvy		(as Bánfalvi Ágnes)
Judit Hernádi	...	Rachel Mohrenwitz, drámai szende
Vilmos Kun	...	Ügyelõ

Runtime:

144 min | Spain:126 min

Country:

West Germany | Hungary | Austria

Language:

English | Hungarian | German

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

Iceland:L | Argentina:16 | Australia:M | Finland:K-16 | Germany:12 | New Zealand:R13 | Sweden:11 | USA:Unrated

Filming Locations:

Berlin, Germany

Company:

Mafilm

Trivia:

Based on the novel "Mephisto" by Klaus Mann, which obviously portrays his former brother-in-law Gustaf Gründgens. Therefore, it was banned in Germany until 2000.

Goofs:

Anachronisms: In the movie's final scene, the modern track is visible in Berlin's Olympic Stadium.

Quotes:

Hendrik Hoefgen: What do they want from me now? After all, I am just an actor.

Movie Connections:

Featured in "Zomergasten: (#5.1)" (1992)

Soundtrack:

Fruhlingsstimmen

Before "The Truman Show", "Mephisto" asks its audience, what is good entertainment?

Another disturbing film about the complicity of ordinary people in fascism, which explores similar territory to "Cabaret", "The Conformist", "The Leopard" and "The Remains of the Day". It argues that fascism demonstrates how difficult it is to separate one's public and private roles and beliefs from politics. The title character, an actor, starts to realise how his "make believe" public role has very real, tragic consequences. In this sense, the film has merit beyond its superb acting and other technical features: it subverts the liberal pieties of Hollywood drama which resolve all conflict within the confines of the existing social system. It undercuts the banality of much film criticism which says it is "just entertainment" with "no subtext"- as if produced in a social/historical vacuum with no point of view. In short, the film argues that artists, like everyone else, have to take some responsibility and assume a critical role or risk being haunted, like Mephisto, by the awareness that they have become pawns in a dangerous game.