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The Good German (2006)

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While in post-war Berlin to cover the Potsdam Conference, an American military journalist is drawn into a murder investigation which involves his former mistress and his driver.

Director:

Steven Soderbergh

Writers:

Paul Attanasio (screenplay), Joseph Kanon (novel)
Nominated for 1 Oscar. Another 3 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
George Clooney ... Jake Geismer
Cate Blanchett ... Lena Brandt
Tobey Maguire ... Tully
Beau Bridges ... Colonel Muller
Tony Curran ... Danny
Leland Orser ... Bernie
Jack Thompson ... Congressman Breimer
Robin Weigert ... Hannelore
Ravil Isyanov ... General Sikorsky
Christian Oliver ... Emil Brandt
Dave Power ... Lieutenant Schaeffer
Don Pugsley ... Gunther
Dominic Comperatore ... Levi
John Roeder ... General
J. Paul Boehmer ... British Press Aide
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Storyline

Berlin, July, 1945. Journalist Jake Geismer arrives to cover the Potsdam conference, issued a captain's uniform for easier passage. He also wants to find Lena, an old flame who's now a prostitute desperate to get out of Berlin. He discovers that the driver he's assigned, a cheerful down-home sadist named Corporal Tully, is Lena's keeper. When the body of a murdered man washes up in Potsdam (within the Russian sector), Jake may be the only person who wants to solve the crime: U.S. personnel are busy finding Nazis to bring to trial, the Russians and the Americans are looking for German rocket scientists, and Lena has her own secrets. Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Taglines:

Not Everyone Finds Peace After The War See more »


Motion Picture Rating (MPAA)

Rated R for language, violence and some sexual content | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | German | Russian

Release Date:

19 January 2007 (USA) See more »

Also Known As:

El buen alemán See more »

Filming Locations:

California, USA See more »

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Box Office

Budget:

$32,000,000 (estimated)

Opening Weekend USA:

$76,817, 17 December 2006, Limited Release

Gross USA:

$1,308,696, 12 April 2007

Cumulative Worldwide Gross:

$5,914,908, 12 April 2007
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | SDDS | Dolby Digital

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

The film was shot as if it had been made in 1945. Only studio back lots, sets and local Los Angeles locations were used. No radio microphones were used, the film was lit with only incandescent lights and period lenses were used on the cameras. The actors were directed to perform in a presentational, stage style. The only allowance was the inclusion of nudity, violence and cursing which would have been forbidden by the Production Code. See more »

Goofs

In two shots you see a double-deck bus. While these existed in Berlin at the time, this one is a London bus as the entry/exit platform is on the left rather than the right. See more »

Quotes

Bernie Teitel: Nothing better for a prosecutor than a criminal with a sense of history. Everything got written down. Who they killed, and what it cost. Meticulous record-keepers.
See more »

Crazy Credits

All the logos appear in black and white, while the Warner Brothers logo appears in the forties old style See more »

Connections

Edited from A Foreign Affair (1948) See more »

Soundtracks

Somebody Else Is Taking My Place
Written by Bob Ellsworth, Dick Howard and Russ Morgan
Performed by William Marsh, Chris Ross, Johnny Britt and Gary Stockdale
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Frequently Asked Questions

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User Reviews

 
Third Men Don't Wear Plaid on a Night in Casablanca
30 September 2008 | by mick-137See all my reviews

Unforgivable pastiche of some infinitely better movies. George Clooney is a journalist sent to cover the 1945 Potsdam conference and in typical movie journalist fashion somehow manages to do no work whatsoever while being drawn into a web of mystery and intrigue. He's possibly the least effectual thriller hero of all time, more Holly Golightly than Holly Martins, and one of the few pleasures the film offers is wondering who will be the next character to jump him from behind and beat him senseless. Will it be the double amputee? The little boy with the bicycle? Absurdities abound, there's unforgivable misuse of narration and all the moody black-and-white photography in the world couldn't make up for a plot more full of holes than the buildings of post-War Berlin. All this could have been redeemed by a bit of chemistry between the leads or some lively pacing but everybody involved seems to be half asleep, possibly numbed into submission by the dreary sub-Elgarian score. The only good thing about this movie is that you leave with a greatly enhanced respect for the skill and sophistication of the bygone filmmakers whose work it so singularly fails to emulate.


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