| Jevon Taylor, 22 Apr 2008 |
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| “The Counterfeiters” opens with an exciting shot of a misty sky bleeding into the sea which washes the beach in Monte Carlo. Then it jovially (almost like a Benny Hill sketch) introduces you to the reticent Solly Solowitsch, who has a lot of money. It is clearly after World War II, and a young woman discovers a number tattooed on the inside of his arm. Then the film flashes back to a dingy brown Berlin, 1936, reminiscent of Fassbinder’s “Berlin Alexanderplatz”. Solly cuts a fine figure in the local criminal underworld where he is the best counterfeiter in the World. Then, in bed with another beautiful young woman, Solly is arrested by Nazi police officer Herzog. From here on in the film takes place in the concentration camps, drained of colour as of life, as Solly’s particular skills are put to good use by Herzog, for the good of his cause. All the while Solly just wants to survive. There are a few remarkable things about this film. It is based on a true story, and a true character, both of which lend the film a, not sentimental or stuffy, historicity. It is filmed very evocatively, catching, for instance, the moral and emotional ambiguities of taking a shower as a member of a work commando in a concentration camp better than any fictional work of film I have seen before. It also works as a thriller, has fine human characters, moments of social commentary and a driven narrative. “The Counterfeiters” combines “serious” and “fun” perfectly, it is easy to watch (except when it shouldn't be) and rewarding. Which means there is little reason not to watch it. |
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