Counterfeiters, The (2007)
Crime | Drama | War
Winner of the Academy Award® for Best Foreign Language Film, The Counterfeiters tells the true story of Salomon Sorowitsch (Karl Markovics), a swindler who made a name for himself as Berlin's "King of the Counterfeiters." However, his life of women and
easy money is cut short when he's arrested and placed in a Nazi concentration camp. With the German army on the verge of bankruptcy, Sorowitsch makes a sobering deal with his captors: in exchange for a comfortable bed, good food and fair treatment,
Sorowitsch, along with the other hand-picked specialists, must counterfeit bank notes to fund the Nazi War effort. If he does as they say, he lives another day. If he rebels, he faces the same fate as the rest of the camp's prisoners. But if he lives,
will he be able to live with himself?
A deft blend of suspense and docudrama, Stefan Ruzowitzky's sixth feature focuses on history's largest counterfeiting operation. Before World War II breaks out, Salomon Sorowitsch (the compact yet steely Karl Markovics), a Russian-born Jew, lives the good
life in Berlin. He forges documents, like passports and banknotes, and sketches beautiful women to the romantic strains of tango records. Sorowitsch's dolce vita comes to an end when he's sent to Mauthausen concentration camp. Once Reich officials decide
to deploy imprisoned printers, craftsmen, and bank officials to counterfeit foreign currency, they draft Sorowitsch for "Operation Bernhard" and ship him to Sachsenhausen. Though he and his colleagues receive preferential treatment, the threat of
execution hangs over their heads at all times. First, they master the pound; then they tackle the American dollar. At this point, communist co-worker Adolf Burger (The Ninth Day's excellent August Diehl) suggests sabotage. As he explains, they're
extending the conflict and increasing the death toll, but the entire team will suffer if they fail, even their SS supervisor, Freidrich Herzog (Downfall's Devid Striesow), whose career depends on it. As Jews, however, they stand to lose more than
their jobs. Based on Burger's book The Devil's Workshop, Austria's Ruzowitzky (Anatomy) sheds a compassionate light on the guilt and complicity of survivors. Though The Counterfeiters plays more like a prison camp movie than a Holocaust
drama--Stalag 17 comes to mind--that doesn't make it any less significant, just less wrenching than some of its counterparts. -- (Kathleen C. Fennessy).
User Comment: Mike Keating (yamawhore@gmail.com) from London, England, 17 October 2007 • Salomon "Sally" Sorowitsch (Markovics) is a master counterfeiter, living a life of debauchery in pre-war Berlin, until his luck finally runs
out, and he is captured and shipped out to the Mauthausen concentration camp. He witnesses the horrors of camp life; fellow prisoners are beaten, shot, and starved, but Sally, determined to survive, looks out for himself and uses his skills as an artist
to secure a more comfortable lifestyle during his incarceration. After taking advantage of his talents, his superiors transfer him to Sachsenhausen, where he is to oversee the largest counterfeiting operation in history.
Here, Sally is provided with all the men and equipment he needs to crack the pound and the dollar; his criminal enterprises are now government funded. The price of failure is made clear, but the counterfeiters are also wary of the price of success, as
once the currencies have been cracked, they will be surplus to requirements; their lives depend not only on their successes but also their failures.
This is where Burger (Diehl), the film's moral centre, comes into play. Unlike Sally, he sees the bigger picture, struggling to come to terms with the fact that while his work keeps him alive, it helps the Nazi war effort. Neither can he reconcile himself
with the fact that while he lives in relative comfort other detainees, including his wife and children, live in squalor.
These moral dilemmas form the basis of the film, and in the face of the horrors of camp life, Sally tries to shrug them off with De Niro squints and smiles; the maxim that one must look after oneself is one repeated throughout the film. It's a very
interesting idea, and it's one that is presented very well, both in terms of style and performance. The camera-work captures the bleak setting effectively, and the lead performances are uniformly excellent, but the use of tango for the score is inspired.
The contrast between the music and the images adeptly complement the film's complicated moral tone. There is also a surprising amount of humour; while the bigger picture is indeed bleak, there are moments of comedy, and even if it is laughter in the dark,
it is welcome and helps not only to carry the film along but humanise it and its characters.
The Counterfeiters is a very enjoyable film, which isn't something that can be said for many World War II "true stories". Its interesting exploration of adaptation and survival under extreme circumstances makes for an engaging story, and one that is
definitely worth seeking out.
Summary: laughter in the dark.
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