WATCH THE TRAILER BELOW:
First, the Recap:
The cry for freedom. We tend to see such a multitude of circumstances as ones we desire liberation from, to get away, to find that better place we’d rather be. Yet, how many times is this placed in the context of simple life struggles we just don’t want to confront and/or deal with, wanting an easy way out instead? Do we stop to consider what it is to TRULY put ourselves on the line, to strive for an actual escape into that will literally change the course of our entire existence? Then, what of the potential price that could be paid to pursue it?
The reality of the Berlin Wall, its ongoing overall significance, and the traumatic air of imprisonment and control it imbued weighs heavy on the mind of a young East German named Chris Gueffroy (Cameron Ashplant). Being involuntarily pressed into serving as part of the GDR‘s military, which he adamantly refuses to do, Chris finds himself and his dreams of the West being forcibly squelched. Can his concerned mother, Karin (Wendy Makkena) and best friend Christian (Darragh Cowley) dissuade Chris from going after a daring, and dangerous, plan to flee it all?
Next, my Mind:
While I tend to more readily equate this upcoming statement with documentary film, it finds complete applicability here as well–often, nothing impacts you like the actuality of REAL LIFE and the undeniable history that accompanies it. That is a wholly true observation when considering this 25-minute indie short film from writer/director/producer Brandon Ashplant, producer Jonathan Tammuz, along with executive producers Stephen Ainsworth, Stephen Collas, Sören Marotz, Gordon Freiherr von Godin, and Stefan Wolle. Delivering as only independent film can, aka: focused on character and story as the most integral foundational core elements, we’re adeptly and purposefully transported into one of the most volatile periods of Germany’s (and really, the world’s) past through one man’s desperate journey to gain the ONE thing that will transform his entire life–personal emancipation so a dream can be realized. But, at what COST comes liberty?
Based on the true events surrounding one young East German’s deep-seated plight under Communist rules, the yearning he is experiencing to see a better future for himself, and the formulation of what would culminate in one of the most courageous, perilous, soon-to-be widely revealed, and politically-charged escape plans on record to cross the Berlin Wall, the film is a deft combination of both slow-burn and succinct intensity when it comes to its grander execution. It is an intelligently crafted portrayal of the sheer power and dogged determination represented by the human will’s longing to be unrestrained while painting a sobering image of what life was like on a larger scale for those in East Germany having to endure the harshness and rigidity of Communist paradigms and soul-crushing inflexibility. What this critic appreciates here IS the aforementioned ability of this film to offer a subtlety of intent that builds in tension credibly, with no melodrama present.
The atmosphere creates sufficiently cements the equally solid emotional kaleidoscope being depicted, utilizing flashbacks as an effective tool to fill in the particulars, and the passage of time, in a manner that fleshes things out with precision and a specific level of equity so as to induce the depths of empathy, understanding, and support you gain for the lead protagonist’s choices and WHY he goes for his design to chase the ambitions that drive him. Thematically, we are therefore immersed in examining concepts covering the overtly overwhelming propaganda machine being employed by the U.S.S.R during this time, rebellion against oppression and not wanting to be told how to live, standing strongly for what you believe in, the specters of prejudice and bigotry, no longer being dominated or controlled like a puppet, and the victimization of a society by corrupted thinking and directives among others, all addressed with compelling, evocative resonance.
When it comes down to it, there is no getting away from the substance of tragedy that this narrative conveys, and to say the least, the film’s third act is a huge example of exactly this, with additional statistics presented pre-credits that just burn into your mind, serving as a potent reminder of things that we should not ever forget, lest the ghosts OF the past find their way into our present. Actually, when looking at the upended state of so many things in this world, somehow this critic feels it only makes the nature of this film that much more pertinent and worth viewing from historical and cautionary perspectives. To genuinely ponder what it would be like to be under any regime attempting to maintain a hold through fear, violence, and misinformation being fed to those under its rule is in need of lasting reform. I feel this film, albeit in quick form, takes on a greater theme of what we need to strive for as a world AND as people who need to see aims towards peace and unity.
Ashplant takes on the lead role here as Chris, a young man facing the demoralizing sphere of subdued, even completely constricted and restricted, reality of what it has been to be under Communist rule in the GDR during what would end up being the last years of the Berlin Wall. Unequivocally determined to seek out his dreams of being an actor and absconding to America, Chris manages to barely hold his frustrations in check for a time until finally choosing to enact a last ditch and highly risky plan to cross over the Wall and discover that elusive freedom he’s sought and longed for. It’s the outcome that remains in question, but suffice it to say, the subsequent ramifications of his choice will echo through history in more ways than one. Ashplant has a very affecting, emotively-infused performance that brings Chris and his critical circumstances to vivid life with beautifully executed understatement and conspicuous energy merging to form the picture of our innate human compulsion to just be unfettered in all ways possible.
Primary supporting roles arrive first from Makkena as Chris’ firm but utterly doting mother Karin who only wishes what any mother wants for their child–a good and SAFE life, even in the midst of the form of subjugation they exist under in the GDR. Whether her voice of reason remains strong enough to keep him at bay is in question, and whether Chris will actually keep her informed with the truths of what decision he is about to make. Cowley plays Christian, a long-standing best friend of Chris’ who, while sharing his comrade’s general sentiments of agitation over their conditions under the GDR, still seems to be more set on accepting the situation as it is rather than fully embracing Chris’ more adamant thought process about what it will take to gain liberation and chase his dreams. Like Karin, it soon becomes the question as to whether Christian will be able to talk Chris out of the ultimate escape plan–or join him instead, putting everything they have in jeopardy. Both Makkena and Cowley bring thoroughly credible performances to the table here, engendering the underlying sense of their own character’s unsettled yet compliant mindsets.
Additional and ket supporting turns are also present here from Paul Freeman as GDR leader and Communist politician Erich Honecker, veteran actor Christopher Eccleston (via voice only) as German actor and TV news presenter Herbert Köfer, Thomas W. Gabrielsson (via voice only) as Swedish PM Ingvar Carlsson who was visiting the GDR at the time of Gueffroy’s escape attempt, Brandon Ashplant as Chris’ brother Stefan who, like Karin, just couldn’t grasp his brother’s level of insistence about not serving as he should in order to simply LIVE as they had to, Wolf Kahler (via voice only) as East German radio personality Bruno Kabát, Andy McCutcheon as Hans, the owner of a restaurant Chris maintained employment at in lieu of military service, Andrew T Hislop as Juan, a Cuban worker in the restaurant whom Chris befriends, and Dean Hollingsworth plays Klaus, a Russian Stasi office whom Hans associates with.
Yet others making appearances include Simon De La Rue, Adam Hooper, and Kodiak Klement among many others. All above turned in excellent and apropos performances that perfectly suited the story being shown. So, in total, “Whispers of Freedom” is an impeccably persuasive, unflinching, and penetrating dramatic reminder of a moment in history that would forever reshape not just the lives of the individuals involved directly, but would reverberate across the world though all that the event exposed about what it was to be under the thumb of repressive governance. The lessons it taught, one would still continue to hope even to this current day and age, should guide us towards better relationships not just as nations, but as human beings who ALL crave for that which Chris Gueffroy represented and strived for at any cost–the ability to be alive, unrestrained, and aspire.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
