Gert Heidenreich), Reitz knows how to grab us immediately and hold us fast throughout.
Jan Dieter Schneider, shown at left -- are offered up in a manner that is beautifully rendered: literary, often flowery, full of specifics, yet sounding real and of-its-time, artful and rich in ideas. (It's a pleasure to read the fine English subtitles.)
Schindler's List. But, no: this use of only-now-and-then color occurs often enough throughout -- at moments and with objects of some importance to the film -- that it lends a kind of mythic quality to a story that is indeed that.
Werner Herzog, too, in a small but pivotal role near the movie's end.) It is so unusual to find a film this old-fashioned in its depiction of a family saga yet thrillingly current in its technology and thematic concerns. This is a wonderfully humane work, as well: Reitz, while understanding the economic and class disparities present, does not go out of his way to find villains to pillory. Just getting on with the life of the time is difficult enough.