Michael Berg is a peculiar 15-year-old boy. But when he falls ill on his way home from school, the young pupil is rescued by Hanna, a woman twice his age with a glowing heart of kindness. Immediately following Michael's recovery, the two begins an unexpected love affair that is filled with passion and sexual adventure only for Hanna to suddenly disappear. Not knowing what to do, Michael works to move on, forgetting about his first love as he goes to school to become a lawyer. Fast forward eight years and Michael, now a young law student, is sitting in on Nazi war trials, observing them for lessons on etiquette and law. When his old flame walks into the court room on charges of a hideous crime, Michael is repulsed at her lack of energy and willingness to defend herself. As the trial wages on, and the others work together to pit the blame on Hanna, Michael begins to realize that his young love may be guarding a secret she considers more shameful than murder.
Kate Winslet, who year after year gives shocking performances in the most challenging of roles, continues her dominance with Hanna, a woman who refuses to reveal the simplest of secrets for fear of personal scrutiny. While often considered to be a supporting character in terms of the film and its story, Winslet steals the spotlight in every scene, bringing the woman to life and connecting her with those in the audience. Never before has my heart reached out for a character so morally misguided as you can't help but feel for the woman sitting front and center. And with false accusations surrounding her, you feel for her loss and troubles, wanting her murder charges to be dropped and begging for mercy on the guilty. Her actions at a Nazi concentration camp are inexcusable, that is an easily conclusion; however, when presented with the distraught and uncertainty that is Winslet, you can't help but feel for the woman, no matter her past crimes.
Second only to Winslet's solo court room scene, her unexpected chemistry with the young David Kross cannot go without mention. Tackling the awkward relationship that results from an adult choosing to have sexual affairs with a minor, both Winslet and Kross preform the scenes with an undeniable force. The tense movements that come with a 'first time' sexual encounter are pulled off brilliantly as both actors accept their roles and proceed with unknowing love and affection. And while the situation will be alarming and in some cases disturbing for many, it is the foundation in which the rest of the film rests upon, making it a detrimental, if not intricate part of the film and its powerful message.
These two performances, along with the work of Ralph Finnes, help to overshadow the film's lone flaw: ten to fifteen minutes of dragging substance. Instead of keeping on course, interlocking the romance, drama and political sides of the story, director Stephen Daldry chooses to spend a short period of time separating the three out, making for a segment of overdone procedure. In the process, we learn more than we need to know about Michael; thus creating a slight bore in terms of the film and its overall flow. The problem is often there in a story centered independent film, and while it is excusable, it still creates a slight annoyance for those who wish to see a complete film of passion and self-destruction. Regardless, within a short span on time, Daldry notices the lapse in movement, giving the story an emotional boost that lasts through the end credits.
In conclusion, the film contains a small lesson on life, love and the influence that we each have on others. And while the film is not perfect, the flawless work of Winslet and her chemistry with the rest of the cast help to create a story and premise that not only captures your heart and emotions, but gives your mind something to dwell on for days after. For some, it will be a little too much, but for those that can handle it, the film is a true masterpiece that is sure to stir up both controvery and discussion from all who witness it.
