Klaus Maria Brandauer Movies

The second film in the trilogy made by director Istvan Szabo and actor Klaus Maria Brandauer -- hammocked between Mephisto and Hanussen -- Colonel Redl continues Mephisto's fascination with a man overwhelmed by history. In that film, Brandauer played an actor who tried to ignore the rise of the Third Reich, and here he's an ambitious military officer in pre-World War I Austria whose career path is set early on. In military school, he's forced to inform on a student who's the source of a practical joke; though he beats himself up for being a Judas, he soon realizes that to rise in the ranks he must overcome his peasant background and hide his homosexuality by ingratiating himself with his superiors. In time, he becomes Chief of Military Intelligence for the Austro-Hungarian empire.
Though he professes to hate politics and politicians, Redl also can't avoid them. When the leader for whom Redl is supposedly spying among the officer corps, draws up a list of who can't be exposed for traitorous activities (including Austrian nobles, Hungarians, Czechs, Serbs, Croatians, and even the usual scapegoats, Jews -- the aftershocks of the Dreyfuss affair are still rumbling), he tells Redl that he must find a double of himself, a Ukrainian. Now certain that he will be exposed, Redl surrenders to fate, quoting to his wife from Montaigne: "It's no sin to be involved. It's a sin to remain involved." Brandauer is a wonder as the self-loathing Redl, and Szabo's camera picks up every nuance on his expressive face. The film eschews music except for several party scenes, and the absence of a score is most effective in the final shots of Redl's fellow officers awaiting his fate. ~ Tom Wiener, Rovi

Poet and filmmaker Yevgeny Yevtushenko wrote and directed this metaphorical look at his fictionalized early life, set in 1941 when Muscovites were abandoning their city because of the war. Everything is hectic at the train station in the rush to leave, and little nine-year-old Zhenya (Sergei Gusak, Zhenya is a nickname for Yevgeny) is overwhelmed by the crowds and tearful good-byes. Once on board, danger continues for all the passengers -- the Germans are strafing the trains out of Moscow. As he heads toward Siberia and home, Zhenya meets a woman bandit and is intrigued by her enthusiasm for life and whatever of value she can swipe from it. As the two interact, some changes are in store for the woman -- a pivotal figure in this fictional voyage. Although metaphors and symbolic sequences often replace the narrative, this film is not totally successful as a cinematic statement and goes on a bit too long, considering its limited content. ~ Eleanor Mannikka, Rovi

Based on Klaus Mann's novel, Mephisto details the rise of a Faustian character who figuratively sells his soul in exchange for greatness. Hendrik Hofgen (Klaus Maria Brandauer, offering an electric performance) is the star of a state-funded theater department who tires of his job. Like his friends, he pays lip service to socialist ideals fashionable for artists of his time -- that is, until the Nazis rise to power. He then sees an opportunity to achieve his objective of fame: he will perform propaganda plays and thereby use the Nazis as a vehicle to spread his name across the country -- only too late does he realize his mistake. This well-adapted version of the book featured the first teaming of Brandauer with director Istvan Szabo; they would later reunite to make Colonel Redl and Hanussen. Brandauer first gained attention in the U.S. after the film's release and would be cast as the villain in Never Say Never Again as a result. ~ Jeremy Beday, Rovi

This espionage thriller is based on a spy novel by Helen MacInnes and tells the tale of a Yankee lawyer who goes to the lovely little Austrian city on vacation and ends up hopelessly entangled in an international web of rival spies and neo-Nazis searching for a chest that holds the names of Nazi collaborators and war criminals. ~ Sandra Brennan, Rovi