dlda themes

How is the portrayal of the theme of 'observation' introduced in the film?

From the theatre box, Wiesler and Grubitz are able to watch the audience. They point out Kulturminister Hempf and uses the opera glasses (ein Opernglas) to survey Dreyman for the first time. Finally, he surveys Grubitz as he talks with Hempf, with the final shot of the scene showing him lowing the glasses. This emphasises his presence in the scene despite not being directly involved, i.e. through his observations. This is a recurring trope throughout the film.

How is Frau Meineke involved in portraying the theme of observation? Why is this particularly significant?

As the Stasi officers leave Dreyman's flat, Frau Meineke observes them through her hole in her door. She is visible affected by them being there. Wiesler notices her eye and warns her that her family's prestige in society will be damaged if she should tell anyone about what she saw. She is vital as it exemplifies the power dynamics at play in society - shown through observation, the Stasi are allowed free reign to spy on whomever they wish, however the people in the DDR do not have any comparable measure of freedom in their lives.

How is the camera employed to help portray the theme of observation?

During times of intimacy and privacy, the presence of the State (portrayed by the observations of Wiesler) is shown by the camera through quick cuts to the attic. For example, when Dreyman receives the typewriter and is advised that nobody else should know about its whereabouts. Immediately, the camera cuts to Wiesler and we understand that there is no privacy in this society.

How is the idea of control emphasised by the theme of observation?

Wiesler uses his knowledge and power as the observer to manipulate Dreyman and Christa Maria. By activating the doorbell, he ensures that Dreyman see Christa as she exits Hempf's car. Ironically, he says "Zeit fur bittere Wahrheiten" as he does this, yet he is the one shrouded in mystery. This action highlights he moral abuse of power afforded to the state as a consequence of their observations.

How does the theme of observation work to display development in the film?

At the end of the film, the observation roles are reversed as Dreyman watches Wiesler delivering leaflets. But in the same way that Wiesler remained a silent saviour to Dreyman, so too does Dreyman dedicate his book to Wiesler. This mirroring of roles through the theme of observation emphasises the moral development of Wiesler and brings attention to the injustices which have been replaced by new freedoms and privacy in the unified Germany.

What timeless didactic function is served by the theme of observation?

The constant violation of the people's right to privacy and individual freedom serves to highlight the importance of liberty in a free society. In a way, the audience are permitted a look into the concealed brutality of life in East Germany, observing its dangers. The audience are encourage to question the moral dilemmas surrounding the use of surveillance and its uses and dangers for society.

What more contemporary didactic function is served by the theme of observation?

The applicability of the film today is primarily due to its parallels with the rise of social media and personal data collection through new technologies. This serves the function of warning the audience that surveillance and observation can have dire impacts on the lives of individuals, who are themselves entitled to freedom and privacy.

What are the main five main methods of the Stasi? (Provide the answer in German)

• die Verwanzung

• brutales Verhoer

• Untersuchung von Wohnungen

• das Informieren ueber Mirbuerger

• Drohungen

Explain how the methods of the Stasi are used to show a suppression of individuality in society

In the opening scene, Wiesler uses direct and dehumanising language. He also refers to the prisoner by his number "227", instead of by his name; the individual has been reduced by the state's brutal treatment.

How do we see the extensiveness of the Stasi's methods? Why is this relevant?

As Wiesler passes on the information about how to interrogate a suspect to his students in the lecture hall, he emphasises that a smell sample must be kept, should the suspect need to be hunted at a later stage. This reinforces the idea that the state and its brutality is limitless (notice the close-up shots of chair seats during other interview scenes in the film); it stretches far beyond the actions of any one individual. This institutions of the DDR are oriented around the tenet of controlling and containing its population.

What role is played by Hauser in shaping the presentation of the Stasi's methods?

Hauser knows that his flat is bugged, and when he has people over he plays loud music so that his conversations will not be overheard. He is brazenly confident, despite the potential danger he is in, moreover he has comically 'named' his personal spy Rolf. There is a dramatic technique of comic relief in these exchanges, however, belying this is something more sinister: namely, that these appaling violations of human dignity and privacy are so commonplace and ingrained in the fabric of East German society that they are the subject of comedy. It helps to further reinforce the idea that the people were more or less defenceless against the arbitrary, violative whims of the state.

How and what do we learn from the Stasi's methods and behaviour against public criticisms of the Government?

On several occasions the Stasi display their tendency towards no tolerance of criticism. For example, when Dreyman mentions Jerska's work-ban, Hempf immediately warns him not to mention it. Even to most innocent and non-offensive mentions of the Government are taken harshly - the boy who makes anti anti-Honecker joke in the canteen is reprimanded by Grubitz as is later seen steaming open letters in the same room as the disgraced Wiesler. However, this heightens the contrast seen when Wiesler chooses not to pursue the father of the boy he meets in the lift, who has told his that his father is critical of the Stasi. This shows the humanity which is starting to emerge in Wiesler agains the cruelty of the Stasi.

How do the Stasi use gifts?

There are two key situations where the Stasi use gifts: one is when Wiesler asks that Frau Meineke be given a gift as a reward to her not telling Dreyman that his flat is bugged, whilst Christa is also given the drugs to which she is addicted by Hempf as a reward for becoming an Inoffizielle Mitarbeiter (IM). In both cases, the rewards are given to people who are not emotionally committed to the Stasi's cause, but instead as reminders of the Stasi's power and influence. They are, conversely, threatening gifts which are utilised by the Stasi to intimidate people in society.

What are two good examples which show how the Stasi's methods are in stark violation of any principle of privacy or individual freedom?

• Wiesler notes "Vermutlich Geschlechtsverkehr" in his report on Dreyman and Christa

• At the end of the film, letters are being steamed open. Private communication was utterly impossible as everything was read by the eyes of the state.

This examples are shocking to the audience. They encourage a reflection on our own personal lives and what we choose to do, say, and even think in the inviolable presence of ourselves. What would our lives be like if we were constantly threatened by an imposing and dangerous state which did not respect out dignity?

How are the Stasi presented as efficient? Why is this significant?

When Dreyman's flat is bugged, and too when the Stasi arrive to search for the typewriter, the officers move with brutal efficiency. It is clear that these men have invaded the personal spaces of countless people during their careers. They remain expressionless and indifferent to the person in question, instead their focus is purely transactional. To them, it is entirely irrelevant that they are ruining the life of an innocent victim because they do not recognise the humanity of that individual.

How do the Stasi help to foster a societal atmpshere of distrust and anxiety?

They Stasi coerce Christa Maria into becoming an IM when she reveals the whereabouts of Dreyman's typewriter. However, Christa is not necessarily portrayed as the villain and the audience sympathise with her agonising decision. We are encouraged to consider the tragedy of the lives that are led by those in the DDR, namely ones of anxiety and distrust of their compatriots. Just as the state has robbed its citizens of privacy and freedom, so too have they been deprived honest human relations, because every interaction is undermined by the potential cruelty of the Stasi.

What is the overall message coveyed through the recurring theme of truth and lies?

The oppression of the DDR regime seems to create an inversion of morality, in which lying is often necessary to succeed or at best survive, whereas the telling the truth is dangerous. In effect, all character are 'living a lie' which creates a certain amount of moral torment for them all. In this, the audience pity the people living in the society and grow to better understand their predicament.

How does Christa conceal the truth? How is this preyed upon by Wiesler? Why is this relevant?

She does not tell Dreyman about her affair with Hempf and nor does she reveal that she has become addicted to drugs. Wiesler tries to reveal the "bittere Wahrheiten" to Dreyman in a cruel display of his power, however Dreyman's humanity appears to prevail over the moral anguish that lying normally induces. He comforts Christa, displaying an endearing quality of affection of vindictiveness, despite the unenviable reality of his circumstances.

What is a good display of Wiesler's development on the path to truthfulness?

Christa's life of lies is evidently disturbing her when she leaves Dreyman for Hempf. When Wiesler meets her in the bar, he has explictly come with the intention of telling her the truth about herself. In this instance, small personal truths are used to show common humanity in a world which often forces people to live alone and in mental dissatisfaction. The scene ends with an exchange of truths: "Sie sind ein groSSe Kuenstlerin" ... "Und sie sind ein guter Mensch".

How does Dreyman present a good example of the contradictions, often made by individuals in this society, with respect to lying and the truth?

He pleads with Christa to tell him the truth as is distressed that she has lied to him. However, he hides the truth about writing the Spiegel article and, initially, the whereabouts of the typewriter. Here we see that people are forced into a situation where they cannot follow the traditional ethics of being truthful over deceitful. The tension which exists between individuals and the threat of being exposed as a dissident create a pervasive fear of the truth. This drives wedges between people, even lovers, and stops citizens of the DDR living a truly human life.

What happens to the relationship between truth and falsehood as the film continues?

The overall structure of the film centres around Wiesler's transformation - as he changes, the occurence of lies increases. He lies to Grubitz and suggests that the Stasi should stop surveying Dreyman even though Wiesler now has incriminating evidence that Dreyman had planned to smuggle Hauser across the border. Wielser types a further lie that Dreyman is reading out his play when in fact he is reciting a draft of the Spiegel article. Christa also lies to Wiesler, saying that she invented the story about the typewriter.

What is the overall conclusion of the theme of truth and falsehood?

In the end, the truth is laid bare when Dreyman accesses his Stasi files. Yet, nobody is satisfied with the truth. Wiesler has suffered socially and economically because of his decision to protect the truth that Dreyman was honourable. Christa couldn't live with the truth and ultimately dies as a result. And Dreyman has lost his beloved as a consequence of the tension between truth and falsehood. Ultimately, it is an upsetting conclusion, but the audience has been shown that when truth is not allowed to flourish, there arises a dangerous stress between what it true and what is a lie, which can often lead to tragic outcomes.

What is the key thing to understand about careers in the film?

For all or most of the characters, they are defined through their career. This makes it all the more dramatic and emotional when their careers are affected or threatened.

Talk about Jerska's career and its relevance

Albert Jerska is placed under Berufsverbot. He can no longer produce plays for the East German theatre. This restriction utterly breaks him and he says "Was ist ein Regisseur, der nicht inszenieren darf? ... Gar nichts mehr." For him, his identity was expressed almost solely through his career and once he was forbidden his work he could not find a way to continue. This is a tragic example of how the oppressive state can crush people's individuality and rob them of the true essence of living

Talk about Grubitz's career and its relevance

He is always looking for a means to further his career. Evidently, much of his self-belief and pride comes from his high professional position within the Stasi. At one point, he is selfish in terms of his career, saying to Wiesle "Promotion betreut durch Professor Anton Grubitz ... GroSSartig, was?". He is more interested in flaunting his promotion than listening to Wiesler's report. Grubitz typifies the ruthless egoism which surrounds the theme of careers

What do we learn about the state's power through careers?

At the theatre, Hempf subtly points out the significance that a good outcome from the observation of Dreyman would have on the careers of Grubitz and Wiesler. Grubitz in turn emphasises this point to Wiesler in the canteen: "Ich brauche dir nicht zu sagen, was diese Information fur meine Karriere beduetet und fur deine". In the same scene, we see how vulnerable careers are in the GDR and one can lose their career simply through loose talk or a joke, as illustrated by the incident between Stigler and Grubitz in the canteen

How does Wiesler's career help to shape the narrative of the film?

Initially, Wiesler's career is very harmful to people. In the very first scene of the play, he uses his professional status to degrade a man and ruin his life, effectively. But through his actions during the course of the film, he destroys his career, albeit becoming a better person in the process. Grubitz says to him at the end of the film "Deine Karriere ist vorbei" and we understand, as the viewers, that there is no room for morality in the careers of the Stasi. Even after die Wende, his life remains depressing as he is reduced to delivering leaflets. Ultimately, his conscience and morality destroy his career and his life, hence demonstrating the injustices of East German society

How does Dreyman's career help to shape the narrative of the film?

At the beginning of the film, his career is cautious. He only writes plays which do not criticise of offend the regime. He tells Christa that he had always feared not being able to write. However, after Jerska's suicide, his perspective changes and he says "Seit Alberts Tod ist mir das Schreiben egal". He feels moved to use his status and career to rebel against the oppression which killed his friend. By writing the Spiegel article his career takes a more principled turn, mirroring the shift in Wiesler too. However, after die Wende, his career flourishes as Wiesler remains unsuccessful, again highlighting the bitter unfairness inherent within the film

Talk about Christa Maria's career and its relevance

Christa Maria tries to protect herself by having an affair with Minister Hempf. But as soon as she rejects him, her career is ruined and he has her banned from the stage. Wiesler uses her career as an incentive to tell his where the typewriter is hidden. To save her career, she betrays the man she loves and ultimately this tragic dilemma kills her. She is haunted by the conflict between her career and her lover, seemingly because her career is of such personal importance to her as a means of expression. As she dies, she is consumed by the consequences of her choice as she says "Ich kann nie wieder gut machen, was ich getan habe."

What are the three contexts in which the idea of cleanliness (Sauberkeit) is used throughout the play?

• A personal meaning of "nicht schmutzig", both in a literal and moral sense

• A political meaning of "linientreu" and not doing anything which could cause harm to yourself from the state

• A colloquial meaning of "nicht verwanzt"

How is the idea of cleanliness used in the theatre scene?

Grubitz tells Wiesler that Dreyman is "sauberer als sauber" in that Dreyman supposedly belives that the GDR is "das best Land der Welt". However, he later tells Hempf that Dreyman is "nicht so sauber, wie er scheint". This theme is introduced early and sets a tone that, in this society, morality and purity are equivalent to supporting the Party

When do we see the idea of cleanliness being used to refer to the bugging of a flat?

Dreyman is completely unaware of the fact that his flat is bugged, and tells Hause and Wallner that it is "sauber"

How do we see the idea of cleanliness being used to refer to moral and physical purity?

Both when Christa returns from her meeting with Hempf and after she has become an IM, returning from Hohenschuenhausen, she feels the need to have a shower. She is effectively trying to rid herself of her moral or physical impurity. This recurring theme of needing to wash off the dirtiness of her sins emphasises the tormenting choices which Christa constantly has to make, furhter highlighting the injustices of her society

How does Grubitz use the idea of cleanliness in the end of the film?

He says "Diese Schwelle scheint mir nicht hanz koscher", fitting with the theme of cleanliness. He pervents the meaning of the words he is using, further perpetuating the corruption of morality in society. He is the one being intrusive and evil yet in the language he uses he tries to come across and just and right

What is the overarching reference within the theme of being a good person?

It is a reference (Anspielgung) to a play by Bertolt Brecht, called "Der gute Mensch von Sezuan", which is about the struggle to be a good person in this world. Throughout the play, this struggle is superimposed on the characters who must toil against the system in which they live to be good

What does Hempf say about good people? What does this show?

He says to Dreyman "Menschen varaendern sich nicht". This demonstrates the view of humanity which is held by those in power. Namely, people are bad and will not become good. This is a deeply negative perspective but it informs the decisions of the state to be imposing and oppressive in its conduct

How does Jerska' suicide add to the theme of being a good person?

Jerska had given Dreyman the Sonate vom Guten Menschen. After his death, Dreyman plays the sonata s a recognition that Jerska was "ein guter Mensch". Moreover, he says "Kann jemand, der diese Musik wirklich gehoert hat, ein schlechter Mensch sein?". This has a clear effect on Wiesler and is a crucial moment in his consideration of his role as a Stasi officer

How does Christa influence Wiesler in regard to his being a good person?

In the bar, she thanks him for his comforting words about her worth and talent, telling him that "sie sind ein guter Mensch". Christa's statement marks a further transition for Wiesler. Through his acquaintance with literature, the falsifying of reports, not informing on Hauser's 'espace', and not asking the name of the father of the by he meets in the lift he gradually becomes a good man

How is the theme of being a good person resolved?

At the end of the film, Dreyman entitles his novel Die vom Guten Menschen, as a reference to Jerska and his life as a good man. However, he also dedicates the book to "HGW XX/7" and finally confirms that after all of his soul-searching, Wiesler is a good man. It is a sweet end to the film, yet tainted by the fact that the two good men are in such wildly different circumstances