t_atzmueller „Hanussen" is the third and final cooperation between director Istvan Szabo and Klaus-Maria Brandauer and in my personal opinion, the most underrated of this semi-trilogy."Hanussen" tells the (partially fictionalized) story of the historic hypnotizer and clairvoyant Jan-Erik Hanussen. However, Szabo has taken the liberty to change the characters background. Here, Hanussen was born Klaus Schneider, a veteran of WW1, who has gained hypnotic power and the gift of clairvoyance after suffering a head injury on the battleground. With those powers, Schneider changes his name to Hanussen, becoming one of the most celebrated magicians in pre-Nazi Germany. As the Nazi party rises to power, so does Hanussens fame and reputation. Eventually (and inevitably) Hanussen comes to the attention of the Nazis who soon use him as a tool and finally, having outlived his usefulness, discard him.For the third time Brandauer plays a character that wishes for more than what he perceives himself as: the self-loathing officer "Oberst Redl", who's ashamed of his ethic background and sexuality; the brilliant actor in "Mephisto" who tries to camouflage his lower class background and egomania – in "Hanussen" Brandauer shows us a character who wishes he was the superior, omnipotent magician he portrays on stage but, in essence, remains a frightened, wounded victim of the battlefield. Brandauers performance is magic in the truest sense; his presence fills the screen in a way that few actors do (to mind come actors like Klaus Kinski or Al Pacino).Brandauers brilliant performance aside, Szabo wants to teach us a lesson about the fickle nature of humanity, where self-perception, make-belief and reality are often very different, even incompatible, yet inseparable. And more important than the psychological implications, how those fickle traits can be exploited by (in this case) fascism, communism, capitalism or any other ambitious political movement you could name.A powerful, important piece of work with a timeless message; well deserving, despite any technical or dramaturgical flaws, 8 points from 10.

Michael Neumann A German soldier with a serious head wound survives The Great War to become a celebrated clairvoyant in Depression-era Berlin, mesmerizing audiences (and critics) by the sheer force of his personality. No, his stage name isn't Adolph Hitler, but the parallels soon become clear. Are his powers a supernatural gift or merely sensitive guesswork? The question takes on added significance when the apolitical showman begins predicting the rise of fascism and falls under the influence (against his own will) of the fledgling Nazi Party. The film presents an intriguing, if not always cohesive, portrait of an entertainer (and by extension, a nation) under the spell of forces beyond anyone's control, with the title role coming vividly to life in Klaus Maria Brandauer's equally mesmerizing performance. His efforts helped earn the film a nomination for Best Foreign Language Feature, but the results were likely too dark and ambiguous to win the Oscar.

dromasca Biography movies take famous people lives, process, embellish and make them more interesting. Something different seems to happen with Istvan Szabo's 'Hanussen' - though it does have its doze of processing I have the feeling that the real life of the character was more interesting than the life in the movie.Eric Jan Hanussen was the stage name of a magician in Berlin's 20s and early 30s. His show were not based on special effects, but on an extraordinary capacity of guessing the thoughts, controlling the minds and foreseeing the future of the people in the audience. We can debate to what extent this was real or con art, but there was something true in his charismatic presence and his power of hypnosis. Janussen however remained in history not by his talent as a magician and not even as a hipnotizer, but because he was capable to predict and express in the language of the magicians the ascension to power of Hitler. What now is history trivia was not that obvious in the 20s and beginning of the 30s and the power of prediction of Hanussen was beyond the general level, reaching the level of detail of the fire that destroyed the Reichstag.Istavan Szabo film goes however far away from the real Hanussen. A visit on the site of the family http://www.steinschneider.com/biography/hanussen_bio.htm reveals a character even more mysterious and fascinating than in the movie. In reality Hanussen was Jewish, but this fact was not known to his Nazi friends. It is not clear whether he was driven by opportunistic reasons or by fear, or by a combination of both, but the real Janussen seems to have been far from the unwilling person, or even opponent as described in the movie, but may have been rather a real sympathizer. It is even said that he even met Hitler, and taught him some crowd control and staging techniques used later by the dictator in his big mass shows. Hard to say why all these details were not presented in the movie, they could have made the character even more complex and interesting.Klaus Maria Brandauer's performance is magnificent, he masters the screen as Hanussen must have mastered the stage, it is maybe the best thing that remained from this film, together with the powerful and colorful rendition of the decadent atmosphere of Berlin during the Weimar Rebublic. Yet the real Hanussen may have been even a more fascinating character than Brandauer's Hanussen.

xenophil This is the story of the fatal hubris of an artist who vainly tries to maintain neutrality in the face of encroaching Nazism, in order to pursue his brilliant career as a hypnotist and magician. The suspense grows unbearable as the perverse evil intrudes into every aspect of life.There are wonderful examples of the way the Hitler's propaganda machine co-opts everything in sight, and how people underestimate, over and over again, the lengths he will go to. The character of Bruno Bettelheim, with a clear, humane view of life, appears as a foil to the protagonist who is seduced by his 'art'. I really liked the irony of the man who predicts the future, coming up against his own unrolling fate, as becomes clear in the last, most sinister scene.This is my favorite of the three Istvan Szabo movies about protagonists trying to control their fate in the web of intrigue of a totalitarian state. It is exciting and provocative.