Georg
Elser did not look intimidating, nor did he sound particularly formidable. Yet,
that is a major reason why he came so close to changing the course of world
history. He nearly saved Germany from the continued waste of a destructive war
and the profound dishonor of its crimes against humanity, but he missed his
target by less than a quarter of an hour. The remarkable true story of his
nearly successful attempt to assassinate Hitler is dramatized in Oliver Hirschbiegel's 13 Minutes (trailer here), which opens this
Friday in New York.
Elser
was a carpenter by training, but was competent in numerous forms of skilled
labor and craftsmanship. He was decidedly not the heroic type, but he
recognized how National Socialism was cannibalizing the civilian economy and
encouraging open thuggery and prejudice in the streets. His growing resolve to
take dramatic direct action compelled Elser to forego a life with his married lover,
whom he accurately but honestly referred to as his “landlady,” for her own
protection.
In
flashbacks, we clearly see Elser is considerably less inclined to activism than
his more radical social circle. Yet, he is not necessarily wrong to doubt the
effectiveness of their street protests. To protect Elsa and his family, Elser
resolves to work alone. Unfortunately, when his plot to bomb a National
Socialist conference fails by the narrowest of margins, he is quickly
rounded-up. Yet, his police and Gestapo interrogators cannot believe such a
sophisticated plan was the sole work of one nebbish workingman.
Granted,
we should all have a general idea of the shape of 13 Minutes’ narrative arc for reasons that hardly need belaboring.
However, viewers will be surprised how many scenes reverberate with maddeningly
tragic what-if’s. The interrogation sequences featuring Criminal Police (Kripo)
Chief Arthur Nebe and Gestapo Chief Heinrich Müller are especially resonant.
There have been attempts to rehabilitate Nebe’s image over the years, but
screenwriters Léonie-Claire Breinersdorfer and Fred Breinersdorfer generally
hold to largely accepted view that Nebe was far from a clandestine saint, but
still not as vicious as his Gestapo (a low hurdle to clear if ever there was
one).
Regardless,
Burghart Klaußner (recently seen as Fritz Bauer) and Johann von Bülow are
terrific conveying the frosty lack of chemistry between the awkwardly matched
security chiefs. It is fascinating to witness the micro-Cold War unfolding
between them. Likewise, Christian Friedel is so tightly wound as Elser, he is
almost painful to watch. Yet, he convincingly portrays the complicated development
of Elser’s formerly disengaged character.
