Das Leben der Anderen - Characters

How is Wiesler presented in the opening scene? What do we learn about his life from this?

He is presented as cold and emotionless. Through this presentation, we learn that his life is driven by facts and relentless order. To him, a good life is only lived through loyalty to the state and void of all individuality - this is clear in his lack of reaction to the joke about Erich Honecker

Describe the intial dynamic of Shadenfreude which Wiesler feels towards Dreyman

He describes Dreyman as "genau der arrogante Typ" and suggests that he been surveyed. During the beginning of his spying on Dreyman, he actives the doorbell of his apartment to ensure that Dreyman notices Christa Maria exiting Hempf's car. There is a distinct tone of shadenfreude when Wiesler says: "Zeit fuer bittere Wahrheiten"

How is Wiesler's personal life presented?

He is obviously a lonely man. We see, during a shot in the middle of the film, him standing alone in the centre of the screen as he ascends his apartment block in the lift. His flat is rather empty and his food is bland. He engages the services of a prostitute to fulfill his sexual desires and is longing for her company, asking her to stay longer

How is Wiesler's diligence displayed in the film?

The typical shot of Wiesler is of him eavesdropping in the attic. It is a close shot (die Nahaufnahme), showing him looking directly ahead and with expressing little or no emotion. This aim is to emphasise the commitment which he has to his task. His cold emotionless approach to surveying Dreyman and Christa Maria is shown by his deliberate recording of intimate details: "vermutlich Geschlechtsverkehr"

Outline the nature and significance of the first moment in which Wiesler starts to consider his life

He is seen lying comfortably on his sofa at home whilst reading the cost of brecht's poems which he had previosly removed from Dreyman's flat. This is in stark contrast to how we have seen his up until now, namely as a strictly regimented figure. The lyrical tone of the poem, emphasised by the romantic music of the soundtrack, and the voice of Dreyman underline the developing sympathy of the Stasi officer

Outline the nature and significance of the second moment in which Wiesler starts to consider his life

In the scene after he reads Brecht's poem, Wiesler is seen listening in as Dreyman plays Sonate vom Guten Menschen in the apartment below. Instead of the usual head-on shot, the camera moves slowly around Wiesler as the music plays. Evidently he is touched by it. The evidence of his change of heart is first seen when stops short of asking the name of the boy's father, who had caleld the Stasi "schlechte Maenner"

What dilemma does Wiesler face late on in the film? Why is this significant?

As Grubitz starts to suspect that Wiesler has become disloyal ("Bist du noch auf der richtigen Seite?"), Wiesler is faced with a choice between morality and his own interests. He is made to interrogate Christa with the same ferocity shown during the opening sequence of the film. However, despite the outward display of cruelty, his inner character is proved to be reformed by his final protective act: he visit's Dreyman's flat and removes the typewriter

How is Wiesler's fate shown as unjust?

After Christa's death, he is reduced to steaming open letters in the mail department. However, after die Wende, even this job is taken from him and we see him delivering advertising leaflets for a living. Walking alone in the street, from the far-off shot he appears solitary and invisible, even more lonely than in the beginning of the film.

What small consolation is there for Wiesler at the end of the film?

Wiesler displays a certain justified conviction when he proclaims that Dreymans book is dedicated to him: "Es ist fuer mich". He has finally been rewarded for his actions, at last "ein guter Mensch"

How is Dreyman portrayed at the beginning of the film? In what ways is this shown?

At his fortieth birthday party, his lack of life-experience is evident. He doesn't know how to tie a tie. More seriously, however, he remains convinced that Schwalber is a Stasi informant. Hauser brands his "ein jaemmerlicher Idealist", which effectively summarises Dreyman's presentation at the start of the film

How does Dreyman serve to challenge Wiesler's perception of human nature?

Wiesler has set Dreyman up to dicover Christa Maria's affair with Minister Hempf. The plan is obviously for Dreyman to suffer due to this discovery and his is understanadably dismayed. This is evidenced by shot with his back to the camera. When he goes into the bedroom to confront Christa about her affair their reationship is under strain, emphasises by the fact that they do not face eachother initially. However, Dreyman overcomes his grief and shows love, realising that Christa needs his support now more than ever. This display of affection quells Wiesler's plan

How does Dreyman emphasise the power of music and what impact does this have?

He says of Lenin listening to the Appassionata: "Ich kann die Musik nicht hoeren, sonst bringe ich die Revolution nicht zu Ende". And the pivotal line: "Kann jemande, der diese Musik gehoert hat, noch ein schlechter Mensch sein?". These remarks give the listening Wiesler cause to consider the relationship between political loyalty and cultrual creativy, and his place in maintaining the oppresive cultural climate in the GDR

Outline the central scene between Christa and Dreyman

Dreyman tells Christa that he knows about her affair and her secretly taking drugs. He pleads with her not to go to Hempf, calling her "eine groSSe Kuenstlerin". She in turn accuses him of complicity with the GDR regime. However, after her meeting with Wiesler in the bar, she returns to the flat and their relationship is revitalised and stronger than ever. This inspire Dreyman to reconsider his role and relationship with the state. His voice-over begins to formulate the article which will ultimately appear in the West German magacine Der Spiegel

How is Dreyman's continued naivety shown later on in the film?

He does not realise that he will need a Western typewriter or that it would be necessary to find a safe hiding place for the typewriter

How is the relationship between Christa and Dreyman depicted during the final scenes of the film?

Dreyman is confronted with the intrusive brutality of the GDR as he flat is searched. Initially he is convinced that Christa was not the one who had betrayed him. However, when the Stasi revisit his apartment and Grubitz locates the hiding place of the typewriter, Dreyman gives Christa an accusing look. However, Christa grief is evident and as she dies in Dreyman's arms there is a deep sense of pathos for the two of them. Ultimately, they love eachother but they have tragically been unable to be completely true to their relationship as a result of their society. When Dreyman's place is reproduced after the unification, the memories of Christa in the lead role are too evocative and he has to leave the theatre

In the exchange between Dreyman and Christa, in which he confronts her about her affair, what do we learn about Christa's attitudes towards the political system of the GDR?

Christa lies to Dreyman at first, syaing that she is going to visit "eine alte Klassenkameradin". However, once Dreyman confesses to knowing about her affair with Minister Hempf. She decries the political system of the GDR, lamenting that "sie bestimmen, was gespielt wird, wer spielen darf"

Which dramatic technique is used in the scene where Christa meets Wiesler in the bar?

Dramatic irony - she does not know that he has been listening to her conversations whereas the audience are aware of this. He uses the exact same phrase which Dreyman had just used to reassure Christa: "Sie sind eine groSSe Kuenstlerin"

Outline Christa's commitment of loyalty to Dreyman and its impacts for her

When seh discovers Dreyman hiding the typewriter, she simply says "Ich bin jetzt ganz bei dir, ganz egal was". The next shot proves this, as Hempf is shown alone in the hotel room. He orders Christa's arrest ona charge of taking illegal drugs and commands that she is banned from appearing on a German stage again

Give two clear instances in which Christa's weakness and desperation are shown

- Following her arrest she offer Grubitz a sexual relationship

- During the interrogation with Wiesler, she says nothing and her reactions are shown solely through facial expressions and hand gestures. She is so weak and vulnerable that she does not require the customary 40 hours of questioning to capitulate

Give two early indications of Grubitz commitment to furthering his own career

- He tells Hempf what he believes he wants to hear, namely that Dreyman is perhaps "nicht so sauber, wie es scheint", despite previously saying to Wiesler that he was "sauberer als sauber".

- He also edits out the reference to Hempf's care in Wiesler's report

Outline Grubitz's attitude towards the Party

He is duplicitous by, on the one hand, telling Hempf that he is commited to "Schild und Schwert der Partei zu sein", however later on allowing Stigler to tell an anti-Honecker joke and telling on himself. He appears to be ultimately ambivalent towards his superiors in professional life and only feigns deference insofar as it will serve his own goals

How is Grubitz arrogance typified through his attitudes towards his students?

She proclaims that the dissertation which has just been completed by one of his students is "eine erstklassige Arbeit" but he intends to give it a lower grade in order to boost his own sense of self-importance. He treats the contents of the dissertation as if they were his own in a segment which is by far the longest individual speech of the film

How is Grubitz embarrased by his superiors and when impact does this have?

On several occassions he is dismissed by Hempf: "Verschwinden Sie!". This serves primarily to highlight his arrogance and belittle others as he is treated by his own superiors

How does Grubitz react to Christa's death?

He lacks any empathy, simply syaing to Dreyman: "Wir haben wohl einen falschen Hinweis bekommen"

How does Grubitz show the audience the arbitrary power of superiors in the political machine of the GDR?

He demotes Wiesler to a position in which he will likely spend the next 20 years steaming open letters - "eine lange Zeit" he remarks sardonically

Why does Grubitz order the observation of Dreyman? Why is this significant?

Grubitz order the observation of Dreyman more out of personal than political reasons - he wants to remove the obstacles to him having Christa to himself. This is a prime example of the sinister corruption rife within the political machine of the GDR

Give an example of how Hempf expects to be obeyed

He barks vehemently at Christa to "Steig ein" when his car pulls up alongside her. He displays a clear disregard for her humanityand sexually abuses her in the back of the car

How does Grubitz conduct himself in personal encounters? What does this demonstrate?

He move in close during exchanges with others: He invades Grubitz's personal space in the theatre, making him uncomfortable. He confronts Dreyman absuptly in the theatre at the end of the film. This clearly shows his disdain for others and depicts him as a thoroughly unpleasant man

How is Hempf shown to be disgusting at the end of the film?

He takes great pleasure, even after reunification, in telling Dreyman that his flat was bugged. He even delights in telling Dreyman that the Stasi knew about his sexual inadequacy: "Wir wussten sogar, dass Sie es unserer kleinen Christa nicht richtig besorgen konnten". Even as Dreyman expresses his revulsion, a look of self-satisfaction crosses Hempf's face

What is significant about Hempf during the play?

Although many of the other characters in the film change during the course of events, Hempf does not change. He exemplifies his own observation to Dreyman: "Menschen veraendern sich nicht". This is deeply ironic and serves only to further illustrate the disgust with which the GDR hierarchy should be regarded