It’s 1942 at this point. Cioma Schönhaus (Louis Hofmann), a young Jew living in Berlin, receives some bad news. Det (Jonathan Berlin), his best friend and the one he was counting on to protect him from the extermination camps, had suddenly lost his exemption. Even Cioma’s exemption, which is based on his shaky agreement to work for a weapons company, is running out of time. It’s a dire position, and his severe landlord Frau Peters (Nina Gummich) is driving Cioma and Det out as well. Nevertheless, Cioma’s art skill is put to meticulous, life-saving use when she is offered the chance to falsify identity papers to transport Jews out of the nation. Maggie Peren’s “The Forger,” inspired by real events, chronicles a young man’s gradual, hesitant path to courage. He saves the lives of over 300 individuals without ever speaking to them, and he doesn’t appear to be driven by any higher ideal.
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He gets ration cards as payment for his work and uses them to pursue a young lady he’s interested in, who goes by the alias “Gerda” (Luna Wedler). She’s harbouring secrets, too, like having an “out in the open” fiancee who actually needs to date other guys like Cioma to get by. The author and director of “The Forger,” Peren, skillfully brings each of these troubled individuals into focus. Det, who at first seems to be a quiet tailor, gets by with a little help from the ladies he meets at the market, and his acquaintances scrape together a living. Initially, Frau Peters seems like a no-nonsense individual, but later on, she reveals a great deal of inner distress as a result of the events unfolding around her. With the exception of Nazi officials, who are exactly what they seem to be, you can’t always judge a book by its cover. Yet, Cioma goes through a metamorphosis, unlike any other character in the series. It would serve Cioma well to adopt the persona of a Nazi in order to fit in and escape suspicion when operating in the open. He uses public transit during the day, disguises himself as a navy commander at night, and will argue with the Germans if he thinks it would help. It’s a daring bluff that ups the stakes of the film.
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Is there any chance he might talk his way out of this? When will his nerves give out and he has to figure out a way out on his own? Fortunately, Louis Hofmann is a charismatic leader who can switch gears in the middle of a scene, altering his tone and body language with hardly a pause between the two. His expressive eyes carry the picture when things get tense, giving the impression that his young character has seen too much in his short life. Peren and her team lure the audience into 1940s Berlin, enticing them with everything from the city’s vibrant nightlife to its drab restaurant, which accepts only ration cards as payment. Whether it’s the warm-to-cool tonal swings in Christian Stangassinger’s photography or Robert Sterna’s quick editing, everything works together to make the picture as aesthetically stunning as its gripping plot. The rest is filled in by the efforts of production designers Philipp Eggert and Eva Stiebler, art directors Marc Ridremont and Stiebler, and costume designer Diana Dietrich.
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This includes the use of heating pipes heated by a small fire, the gradual contraction of living quarters, the dangling of an electrical outlet from a chandelier, and the characters’ increasingly worn and tattered wardrobes. They may be small things, but they really enhanced my enjoyment of the picture. Not everything in “The Forger” works as well together, such as when some of the “Catch Me if You Can”-style humour is juxtaposed with reminders of wartime violence. Although Cioma is a confident young guy whose abilities allowed him to escape and recount his narrative, the rapid shifts in tone make it clear that he did so out of a necessity to survive and not only for laughs. The comedy and seriousness of “The Forger” are perpetual rivals.
Now showing at theatres.