The Good German

28 11 2007

The Good GermanAs I’ve mentioned previously on this site, George Clooney and Steven Soderbergh have a history of collaborating on as many fringe projects as crowd-pleasers (though even their less mainstream films still have some sort of appeal for wider audiences). Falling more into the former camp is The Good German, Soderbergh’s attempt to recreate the film noir genre.

Of course, most filmmakers would be content to stick to using lighting, camera angles, editing and maybe black and white film to help set the tone, but Soderbergh has gone all-out, reverting to the technology of the era, including mics, lighting and lenses, to create a truly authentic experience. Couple this with the acting style and the dramatic film score by Thomas Newman, and the illusion that this is indeed a film from the ’40s is almost complete.

Yet somewhat incongruent to all this effort on Soderbergh’s part is a script that includes sex scenes and swearing. It’s not that Paul Attanasio’s screenplay is bad — it’s actually very good — but for this purpose it just doesn’t suit.
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