Steven Soderberg attempts to re-imagine the iconic noir films of the 1940's with "The Good German." With the old fashioned music score from Thomas Newman and the evocative black-and-white cinematography, he scores in spades. Unfortunately there are some frustrating elements that keep the film from becoming a perfect send-up of those classics.
The acting from Clooney and Blanchett are spot on for the time period the film invokes. Blanchett has received some flack for her thick German accent, and Clooney ridiculed for being wooden, but the styles fit for what Soderbergh was after. Sadly, for the first twenty minutes of the film, Soderbergh allows Tobey Maguire (poorly cast here) to go gonzo in a vain attempt by the non-actor to show he can do more than stare vapidly at the camera or appear all smarmy and misty eyed.
Soderbergh also makes the mistake of utilizing two of the worst elements of films from that time period: unnecessary voice-overs and stock footage to explain plot points when the screenwriter ran out of ideas or the producers cut back on the budget. Oddly, he also infuses a very modern use of sex and violence (though very brief) and profanity (seemingly for comic relief).
Overall, despite some of the distractions, the plot is often engrossing, and as stylish throw-back entertainment designed for the pleasure of movie buffs longing for the days of WWII era noir, the film makes the grade.
The acting from Clooney and Blanchett are spot on for the time period the film invokes. Blanchett has received some flack for her thick German accent, and Clooney ridiculed for being wooden, but the styles fit for what Soderbergh was after. Sadly, for the first twenty minutes of the film, Soderbergh allows Tobey Maguire (poorly cast here) to go gonzo in a vain attempt by the non-actor to show he can do more than stare vapidly at the camera or appear all smarmy and misty eyed.
Soderbergh also makes the mistake of utilizing two of the worst elements of films from that time period: unnecessary voice-overs and stock footage to explain plot points when the screenwriter ran out of ideas or the producers cut back on the budget. Oddly, he also infuses a very modern use of sex and violence (though very brief) and profanity (seemingly for comic relief).
Overall, despite some of the distractions, the plot is often engrossing, and as stylish throw-back entertainment designed for the pleasure of movie buffs longing for the days of WWII era noir, the film makes the grade.