Alicia I love this movie so much

ChicRawIdol A brilliant film that helped define a genre

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Horst in Translation (filmreviews@web.de) "Molokh" is a Nazi-themed movie from over 15 years ago that runs for 108 minutes. It is the beginning of a quadrilogy by director Aleksandr Sokurov. Fittingly to the topic, the film has German as its language although it is obvious that all or almost all of the cast were dubbed. Also the fourth film in the quadrilogy ("Faust") is in German. There, however, a big part of the cast are also German actors in contrast to here. I think the guy who dubbed Hitler here could be Monk's German voice, but I am not 100% sure. One of the reasons I watched this film is because of the screenplay award it won in Cannes. Another would be that I read that Mozgovoy's Hitler may be the biggest competition to Ganz in terms of who played the Fuehrer best. Mozgovoy was almost a rookie when this was made in terms of film acting, but an experienced theater actor. No surprise this looks like an intimate play. The Eva Braun actress is a bit more experienced, but not really that much either. The supporting players may have the most experience here. Note that Goebbels (maybe even more bizarre than Hitler here) is played by a woman here. This also adds to the theater atmosphere as do most of the settings.The movie looks much older than it actually is, but this applies to some of Sokurov's works. The film moves very slowly and there are repeatedly section with little to none dialog. In the first 10 minutes, we only watch Eva Braun dance. Later on, we see her practice on the rings like a professional athlete and near the end she is dancing wildly again on a table. Very physical performance from her. Almost ballet-like at times. Hitler joins her on the table at the end and I personally felt occasionally that without the costumes and the famous names and judging from their actions and dialogs, this could have been a random unknown family too instead of the Fuehrer and his wife. Anyway, it left me fairly unimpressed. Maybe it simply was too slow for my taste. This movie never really captured my interest, so i cannot recommend it. Next time "Downfall" again.

legspinner Honestly, I don't know what all the fuss is about when people say this is a boring and pretentious film. Yes, this is an art-house flick. It's beautiful purpose is to make you think in many different ways and about many different aspects of Nazism; for instance, look how the throng assembles like one of Rembrandt's paintings of the ruling council when 'Adi' slumps into the chair. A very telling reference out - but this film doesn't restrict its references to 'highbrow' themes. In its stylised portrayal of Goebbels and Bormann it manages to suggest the stereotypes of American cinema, which is meant to generate insights into how to view this centre of evil. As the synopsis says, Hitler et al have come to Berchtesgaden for R & R, right? Not much fun, is it? At the centre of this empire, there is simply a void of yes-men who cannot relax in each other's company, who cannot even break out the wine until der Fuhrer has gone to bed, and who for whom every day is an exercise in the most intense nervousness *with no way out except through der Fuhrer's whimsical violent rage.* This movie is one of the driest I've come across. If Mel Brooks was the slapstick Nazis, this is Nazis as 'Big Brother' contestants. So underplayed, it's not exactly surprising many people complain there's nothing going on here - but then, the evil of the Nazis is a strange and unwanted gift for artists and filmmakers who want to get as damn near to Eliot's 'Objective Correlative' as possible, so they can play with a collective, coherent response. In this case, it begins with, "The Nazis were awful, awful people. When did their punishment happen, eh? How was death truly a punishment for their particular evil?" This movie shows, by making fun of them from several perspectives, exactly what their punishment was. When the film moves into the relationship between AH and EB later on, it is further complicated by the fact that Eva is the only one who has even seen what they are doing. Note the subtlety of the exchange which ends in Adi saying, "That's the right answer," or the weird symbolism of their body language when he finally catches up with her in the bedroom. Sokhurov is not trying to portray realistically what happened; he is using the space of Berchtesgaden as a space for a symbolic expression of what Nazism did to the Nazis themselves. Their hell began when they imposed it on others, and they only discovered it later, by which time, one of them was a doddering old neurotic wreck, another one way out of his depth, and still another one abandoned by his old comrades and desperately trying to curry favour. And the whole thing adds up to something ludicrous. I have read on another critique here, that Hitler was considered to be very boring. Well, he can't have been that boring, if you could provoke him to send you to the Russian front simply by criticising his ambitions - but then, the boredom angle is catered for in the first ten minutes with Eva's listlessness. This film is classic.

Marmaduke Grove Sokurov is alone in the universe of known-to-me filmmakers in that he comes up with wonderful ideas for movies but is terrible at making the movies themselves (for a demonstration of both, see especially Russian Ark). So much so, in fact, that letting someone tell you the central concept of a Sokurov movie is pretty much the same experience as watching the movie, except, of course, for the duration. On the one hand, that's good, because very few people can come up with a truly poignant movie concept. On the other, it's bad, well, because the movie itself is.So what is the central concept of this movie that's so wonderful you say? It is this: that Hitler, Goebbels and the rest of the Nazi high command were just people, and not particularly extraordinary or intelligent people, either.Some of you will go "no f***ing kidding!" but really, that's something that is forgotten too easily and is a frightening fact. The atrocities of the Great War and Holocaust are somewhat explainable if one considers Hitler to be an insane genius, a man of pure evil. To see him as a dumb short guy who likes to get his belly poked by fat blond women, well, that's much scarier, because then how do you explain that this man caused the deaths of tens of millions of people? The thought is a harrowing one, but it is immediately understandable in the movie, and so there's no real reason for about 100 of the 108 minutes of its length.Moloch is the cinematic equivalent of a post-it memo to yourself that you wrote some time ago and see just in time to act upon its instructions. If you remembered the contents, you're annoyed at having wasted the time to write (watch) something so obvious. If you didn't, you're very thankful for the note, and yet annoyed at yourself for needing the note in the first place.So should you see this movie? Not if you've read my review or had someone tell you the gist of it. If not, it is necessary, if boring viewing.

RResende I thought the theme of this movie was quite interesting. Still in the end, the result could have been better. What I enjoyed the most in the end was the scenery created around Hitler's "last resort". It really gave the impression of a new Olympus, with human gods around the german Zeus, "die führer"(at least as they saw themselves...). Still, what I found bad in the end was not the soviet approach, as I read in previous comments nor the vision of Hitler as a stupid good fellow(that has to do with the director's origins in the first case and with his vision of history and of the past in the second; if none of these elements were present in the movie than it would be the same as if it had been directed by Bertolucci or Coppolla!...; this gives identity to the creator and to his piece...). What was the true failure in this film, the way I see it, was that besides the director's new characterization of hitler and his hidding place, there were no "juicy" dialogues, no real reflexion about any theme, ideologically speaking or even supported in happenings that might have been occurring in that time. In the end I didn't feel the pulse of the characters, it's like if they were dead, with no capacity to rule the world as the gods they pretended to be... Still I had the sublime impression that they were like resting as if they were not responsable for what was going on in the world, in a lunatic attitude that I believe was close to the reality... 7/10