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Review: ‘Bonhoeffer,’ a dramatization of a celebrated theologian’s life, makes him a superhero

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Review: 'Bonhoeffer,' a dramatization of a celebrated theologian's life, makes him a superhero

As a film enthusiast with a background in history and theology, I find myself deeply conflicted about the movie “Bonhoeffer: Pastor. Spy. Assassin.” On one hand, the story of Dietrich Bonhoeffer is undeniably compelling, his life a testament to courage and conviction in the face of unimaginable evil. Yet, on the other hand, this film seems to oversimplify the complexities of Bonhoeffer’s life, reducing him to a one-dimensional hero in a summer blockbuster-style narrative.

Filmmakers looking to convey clear themes of good versus evil might find World War II an appropriate backdrop, especially for stories revolving around Dietrich Bonhoeffer – an outspoken anti-Nazi German theologian who stood against intolerance, fought for Jewish survival, possibly assisted in plots against Hitler, and was ultimately martyred by the dying Nazi regime during its final days.

Bonhoeffer, an author known for his morally upright nature, is widely respected and even seen as a martyr. However, the movie about him, “Bonhoeffer: Pastor. Spy. Assassin,” directed by Todd Komarnicki, seems to focus more on glorifying Bonhoeffer than exploring the complexity of his beliefs that peace and violence could coexist within him. Instead, it portrays him as a resolute champion for justice, even going so far as to use action-movie-style titles like “Pastor,” “Spy,” and “Assassin.” The film poster also emphasizes the action aspect, depicting Bonhoeffer (played by Jonas Dassler) with a visible handgun, suggesting he’s ready for action.

Initially, the film provides a mythical backdrop of his early years: growing up in a nurturing family, losing an elder brother due to World War I, and studying in New York City during 1930 as a seminary student, where he learns about American racism from none other than Reverend Adam Clayton Powell, effectively played by Clarke Peters. Additionally, this eagerness of the white ally is underscored when he’s physically attacked by a hateful bigot – one of the film’s peculiar representations of violence infliction. Moreover, not only does this sympathetic character get assaulted, but he’s also invited to perform on stage at a jazz club alongside the band. Therefore, you could say “Pastor. Spy. Assassin. Has Connections in the Black Community.

In Germany, Bonhoeffer’s journey towards Christian resistance was sparked by the ascension of the Nazis. He was troubled by the nation’s swift allegiance to a false deity that fueled “gossip and fury.” He publicly criticized sympathetic clergy (one of whom bore a striking resemblance to Max Schreck from the original “Nosferatu”), vehemently denounced Hitler from the pulpit, and eventually started teaching seminarians in secret. Later, he opted for riskier endeavors, such as infiltrating Britain to covertly rally support among priests.

In some instances, the film’s dialogues about politics corrupting the church, causing discord, breeding deceit and hypocrisy, seem remarkably relevant and may resonate strongly. However, be cautious in categorizing the film politically as it hails from Angel Studios, a conservative Christian production company known for “Sound of Freedom” distribution. Interestingly, Bonhoeffer’s legacy has been appropriated by vocal Christian nationalists recently, to such an extent that even his own family members have denounced anyone misrepresenting him as anything other than a man of peace and faith.

What to make, then, of a movie that puts Bonhoeffer in the room with assassination plotters or asking British clergy to smuggle in explosives? It’s disputed history, for one thing, which means it unnecessarily slathers genre suspense on an already overwrought, cookie-cutter and ideologically ultra-confident biography. What’s missing are the character nuances that speak to hard times under a divided church, and how that affected Bonhoeffer the man and a citizen, not just the servant of God.

In the movie “Bonhoeffer,” every scene that feels overly dramatic and contrived seems to present a moral dilemma for the main character to solve through his virtues. Although there are scenes where he interacts with some Jews he’s assisting, the only camp victim portrayed from arrest to imprisonment to suffering to death is a specific individual. Despite the historical importance of the subject matter, this method of storytelling can feel uncomfortable and questionable.

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2024-11-23 02:31

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