Film review Thomas Mann between Goethe and communism

Paweł Pawlikowski has described his latest film Vaterland as a meditation on life hidden within stillness, stating, “In this stillness lies much life.” The Polish director, known for his Academy Award-winning Ida and internationally acclaimed Cold War, has crafted a poignant tale of Thomas Mann’s return to post-war Germany in 1949, alongside his daughter Erika. The film, shot in black and white, blends family tragedy with political reflection, offering a concentrated road movie through divided Germany. In a quiet moment during a garden interview at a Cannes hotel, Pawlikowski spoke candidly about his evolving relationship with Thomas Mann, his creative process, and his concerns over the growing influence of algorithms in the film industry. Pawlikowski spent part of his youth in West Germany during the 1970s, a time when he was required to study Thomas Mann’s works as part of his school curriculum. As a young person, he found little inspiration in Mann’s writing, preferring more physical and emotionally charged literature. However, as he matured, his admiration for the author deepened. This shift in perspective influenced his decision to explore Mann’s return to Germany in Vaterland. The idea came after receiving a proposal from writer Colm Tóibín for a biopic or television series based on his novel The Magician. Pawlikowski declined the offer, but the notion of Mann’s journey back to his homeland intrigued him. To develop the story, Pawlikowski delved into historical accounts of Mann’s 1949 trip, including reports from the driver who actually accompanied him in a Buick. While he acknowledged taking artistic liberties, such as omitting Erika from the journey and combining real-life tragedies, he emphasized that these choices were deliberate. He reduced the lengthy, multi-city trip into a condensed five-day road movie, a technique he had previously used in Ida. The film captures the tension of a fractured nation, focusing on the personal and emotional struggles of its characters rather than strict historical accuracy. Pawlikowski chose Erika as the second central figure instead of Thomas Mann’s wife, Katia, whom he traveled with. He explained that Erika’s complex relationships, with her brother Klaus, her husband Gustaf Gründgens, and her father, made her a compelling narrative force. Her internal conflict, shaped by loyalty and love, mirrored the broader themes of division and reconciliation in post-war Germany. Erika’s character embodies both strength and vulnerability, reflecting the turbulent era in which she lived. She was portrayed by German actress Sandra Hüller, whose performance left Pawlikowski deeply impressed. When asked about Hüller’s acting style, Pawlikowski expressed admiration for her ability to convey truth without revealing intent. He noted how she remained authentic throughout the film, allowing the audience to sense the weight behind her performances. Hüller, accustomed to working with directors who favor traditional methods, initially struggled to adapt to Pawlikowski’s approach. Yet, she eventually embraced his vision, delivering a nuanced portrayal of Erika that resonated with audiences. As Vaterland prepares for release, it stands as a bold exploration of memory, identity, and the lingering shadows of history. With its restrained visual language and layered storytelling, the film invites viewers to reflect on the past while navigating the present. The film’s release marks another chapter in Pawlikowski’s career, one that continues to challenge conventions and deepen the conversation around art, politics, and human connection.