The Warner Archive March 6, 2018 DVD release of the 1945 drama "Hotel Berlin" offers fascinating character studies of a broad range of Germans as their city literally crumbles around them. The bigger picture is that this film is a quality example of movies, such as the "Suite" movies of Neil Simon and the 1932 Berlin-set classic "Grand Hotel," that tell the (oft-connecting) stories of folks staying at grand and not-so-luxurious lodging establishments.
One reason that "Berlin" and "Grand" seem so similar is that they both are based on novels by the same author.
The blessing and the curse of "Berlin" is that this excellent drama lacks most of the anticipated camp associated with many movies that tell the tales of the Nazis. The only straying into over-dramatic territory is an official telling a woman that he has unpleasant ways of making her talk.
The compelling aspect of "Berlin" is that the depth that it adds to the stock characters makes the film compelling. We get a strong sense of who these people are behind their public faces, the reasons for their life choices, and how they respond when the chips are down. Strong elements of this are the survival instinct and the ambiguity regarding the actual team of many characters.
The central character is enemy of the state Dr. Martin Richter, who initially is cleverly hiding in the hotel before being flushed out into the main areas of the building. All of this occurs in the wake of his escaping after being a guest of the Fuhrer under horrific conditions. His allies include his former colleague Dr. Johannes Koenig (Peter Lorre), who is playing his own dangerous game.
Hotel "hostess" Tillie Weiller (Faye Emerson) is the most interesting character, who seems to be the one with the most connections to the rest of the ensemble. She is on hand to entertain the brass and only asks for things such as a pair of shoes (and presumably chocolates and nylons) in return for her bestowed favors. Her origin story that the second half of the film reveals provides some of the strongest surprises.
The other woman in the story is stage actress Lisa Dorn, who is under scrutiny because of her relationship with a general who participates in a Fuhrercide attempt. For his part, this man faces the choices of making a run for the border or facing an effectively back alley death. Both options are contrary to the court martial proceeding to which he asserts that he is entitled.
The paths of Dorn and Richter crossing creates much of the aforementioned ambiguity. The assistance that she provides him reflects several possible motives; the same is true regarding her apparent betrayal. The obvious message here is that desperate times can call for desperate measures that include sleeping with the enemy.
The bigger picture is that "Berlin" puts a human face on the enemy. The Nazis are responsible for some of the worst events in history and those who support them have culpability. However, the film reminds us that not every bad act stems from an evil intent.
Anyone with any questions or comments regarding "Berlin" is strongly encouraged either to email me or to connect on Twitter via @tvdvdguy.
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