Aleksei German

Aleksei German was a Russian filmmaker best known for his complex and visually distinctive works that delved into the human condition, history, and societal structure. His films, including Hard to Be a God and My Friend Ivan Lapshin, were known for their dark tone, intricate narrative, and relentless pursuit of realism.

German’s filmography is remarkable for its distinct visual style, marked by elaborate long takes and meticulous mise-en-scène. His works often depicted grim and harsh realities, weaving political and historical themes with surreal and chaotic elements. His approach to filmmaking was characterised by a devotion to realism, both in performance and visuals. For instance, in Khrustalyov, My Car!, German utilised unconventional storytelling techniques, mixing satire and dark humour with detailed historical observations to paint a vivid picture of Stalinist Russia. His recurring motifs, such as authority and oppression, were presented with a unique blend of realism and allegory that drew the viewer into deep philosophical reflections.

In addition to his distinctive visual style, German’s emphasis on authenticity, often manifesting in a gritty, unfiltered portrayal of humanity, set him apart from his contemporaries. His fearless approach towards cinema inspired a generation of filmmakers, influencing how complex historical and philosophical subjects could be tackled on the big screen. Despite his limited output, his films are considered masterpieces of Russian cinema, contributing to the global recognition of the country’s film industry.

Aleksei German (1938 – 2013)

Calculated Films:

Trial of the Road (1971)
My Friend Ivan Lapshin (1985)
Khrustalyov, Mr Car! (1998)
Hard to be a God (2013)

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Aleksei German’s Top 5 Films Ranked

1. Khrustalyov, My Car! (1998)

Genre: Drama, Satire

2. Trial on the Road (1971)

Genre: War, Drama

3. My Friend Ivan Lapshin (1985)

Genre: Drama

4. Twenty Days Without War (1977)

Genre: War, Drama

5. Hard to be a God (2013)

Genre: Drama, Medieval, Extraterrestrial, Epic

Aleksei German: Defying Soviet Censors – Six Movies in Fifty Years

Modern audiences generally overlook Russian cinema. People accept the brilliance of Tarkovsky and Eisenstein, etc. But they tend not to dig below the surface. This oversight has left many great directors like Leonid Gaidai, with his Looney Tunes-esque works, and the contemplative Aleksei German, underrecognised.

Born in Leningrad in 1938, Aleksei German was deeply influenced by his father, Yuri, a noted writer and critic of Stalinist oppression. The milieu of the German household, infused with tales of wartime and the intricacies of Soviet politics, would provide an invaluable backdrop for the younger German’s ambitions.

It’s tempting to draw parallels between German and other Soviet trailblazers, like Andrei Tarkovsky or Sergei Eisenstein. But where Tarkovsky revelled in spiritualism, and Eisenstein revolutionised montage, German emerged as a chronicler of the underbelly of the Soviet era, those often left untold.

In 1967, German debuted with The Seventh Companion* in collaboration with Grigori Aronov. On the surface, the film might seem like a straightforward account of the Russian Revolution. However, much like the collaborative nature of its direction, the film is an amalgamation of history and fiction, of the personal and the political. Interestingly, for a director who would later be synonymous with challenging Soviet authority, this film was relatively tame.

In 1971, German released Trial on the Road, a departure from typical Soviet war narratives, focusing instead on the psyche of a traitor-turned-hero. The film presented war as a quagmire of moral complexities rather than a clear battle between good and evil. The Soviet authorities, predictably, were not pleased. Banned for its “negative” portrayal of Soviet soldiers, Trial on the Road languished in obscurity until 1986. Yet, German refused to learn his lesson, and censorship would follow him for the rest of his career.

After some difficulties getting another venture off the mark, he eventually made Twenty Days without War in 1976, based on his father’s diaries. In many ways, the film is a delicate waltz between the personal and the historical. Rather than grand battles or heroic charges, the movie delves into the mundane, everyday life of soldiers away from the frontlines.

Again, after years of production difficulties, he made 1985’s My Friend Ivan Lapshin arguably his magnum opus. The film is a labyrinthine journey through the Soviet society of the 1930s, echoing the Kafkaesque bureaucracy and the palpable undercurrents of dread that marked the era. It’s a challenging watch, demanding the viewer’s undivided attention and engagement.

In its stylistic choices, the film is evocative of Bertolt Brecht’s “alienation effect” concept. Rather than lull the viewer into passive consumption, German constantly reminds them of the artifice of cinema, making them an active participant in the narrative.

You’ll have noticed a theme in his career: his tumultuous relationship with censors and funding. More than one of his films, including Trial on the Road, were shelved, deemed too provocative or misaligned with the state’s ideology. These issues meant German was never as prolific as we’d have liked. In fact, during his 45-year career, he made just six films.

As the 1980s dwindled and the winds of change swept through the Soviet Union, German found himself amidst the tumultuous reforms of perestroika. Previously a state-controlled behemoth, the film industry was in flux, and financing for the kind of cinema German was known for became increasingly elusive, leading him to turn to theatre for more opportunities.

1998’s Khrustalyov, My Car! marked German’s resounding return to cinema. Set against the backdrop of Stalin’s death, the film is an absurdist portrayal of a doctor’s descent into madness. With this work, German revisited familiar themes of historical ambiguity and ventured into the realms of black comedy.

Its aesthetic draws comparisons to the works of Terry Gilliam or even Federico Fellini. But where Fellini’s absurdism is rooted in whimsy and Gilliam’s in dystopia, German’s springs from a historical dissonance. It’s as if he’s painting a fresco of the Soviet psyche, where the lines between the real and the surreal blur, offering a grimly comedic reflection of a society in flux.

Khrustalyov was the sort of success that had eluded German throughout his career, yet no new opportunities arose. The new capitalist economy of Russia was more interested in profitable ventures than in art films. The irony was palpable: a director of German’s stature, who had defied Soviet censorship and whose films had resonated in international film festivals, found himself navigating the murky waters of market economics.

Again, after years of struggle, he managed to make a final film, Hard to Be a God, in 2013, just before he passed. A project that spanned decades, both a labour of love and an epitome of his prowess. Based on a science fiction novel by the Strugatsky brothers, it delves into a medieval-like society on another planet, offering a brutal, visceral examination of humanity. The film is a visual tour de force. It’s the culmination of German’s career, seamlessly merging historical allegory with speculative fiction.

Most Underrated Film

Trial on the Road is a subtle yet persistently brilliant film. All German films have their admirers, and none get their dues, but this 1971 film is perhaps the most unfairly underappreciated.

The fact it exists is a marvel. German faced almost insurmountable odds in making this film, from budgetary challenges to the heavy hand of censorship. Even in its basic story, it was defying. It eschewed the typical heroic trappings of Soviet war films; instead, it plunges into the grey zones of human choices, posing unsettling questions rather than providing comforting resolutions. Its lack of action, slow tempo and deliberate pacing had not been seen in war films like it.

This contemplative, meditative approach makes it feel like a breath of fresh air and makes it the perfect entry point to German’s filmography. It is far more accessible than his more labyrinthine films but no less profound. Elements of his trademark style — the blending of personal and political, the use of history as a mirror to reflect contemporary concerns — can be seen taking shape here.

Aleksei German: Themes and Style

Themes

Historical Intimacy: German’s films often delve into specific historical moments, particularly the Soviet era, capturing not just the broad strokes of history but also its nuanced undercurrents.
Moral Ambiguity: Rather than presenting clear moral binaries, German’s narratives thrive in the grey zones. His characters grapple with complex dilemmas, forcing viewers to question their own values.
Power & Resistance: A recurring motif in German’s works is the dynamic between authority and rebellion. His films frequently examine how individuals respond to oppressive systems.
The Everyday Life: Amidst the grandeur of historical events, German takes a magnifying glass to daily life, showcasing its beauty, mundanity, and resilience.

Styles

Long Takes: German was a master of the extended shot. These often work to immerse the viewer fully into the world he’s crafted, making them active participants rather than passive observers.
Disruptive Realism: His films, especially the likes of My Friend Ivan Lapshin, break the fourth wall, reminding viewers of the film’s constructed nature.
Visceral Imagery: German doesn’t shy away from the raw, the bleak, or the grotesque. His visuals can be both beautiful and jarring, echoing the contradictions of the eras he portrays.
Ambient Sound: German often uses diegetic sound to enhance the sense of place and atmosphere. Rustling leaves, distant conversations, and ambient city noises improve his films’ immersive quality.

Directorial Signature

Unconventional Narratives: Rather than follow a straightforward storyline, German’s films often meander, taking detours and embracing a somewhat non-linear approach.
Challenging Authority: Given his personal and family history, it’s no surprise that German’s cinema often stands in defiant opposition to oppressive structures, be it the state or societal norms.
Lingering Moments: German’s scenes sometimes linger just a moment longer than expected, turning mundane moments into poignant reflections.
Complex Characters: His protagonists aren’t clear-cut heroes or villains. They are deeply human, fraught with flaws, yet capable of surprising acts of kindness or rebellion.

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