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If you happen to be a 6′9″ inch German man named Florian Maria Georg Christian Graf Henckel von Donnersmarck, it’s not surprising that you would be comfortable with an oversized movie that plays longer than Gone With the Wind. At over 3 hrs, the film needs editing and shortening but if you cut it to 2 1/2 hrs., you’d have a minor masterpiece. Even in its present frame, it’s a powerful and moving experience merging World War II with post-war communist Germany seen through the filter of a budding artist searching for his authentic and singular form of expression.
It begins with a visit to the Degenerate Art Exhibition organized by the Nazis against Jewish artists and others who defied classical standards. A beautiful young woman accompanies her very young nephew who loves to draw and we quickly learn of her quirkiness and his talent – two themes that are harbingers of his and her life stories. Hitler’s arm rapidly extends from art to disabled and mentally deficient people and the lovely but erratic Elisabeth is first hospitalized until more drastic measures are taken. As the young boy, Kurt, grows up, we see the further damage that Nazi control wreaks on his family, but he remains dedicated to becoming an artist and enrolls in a school in Dusseldorf where he is exposed to all the trendy aspects of the art world in the 60’s and 70’s, trying desperately to determine how he can contribute something original to a very crowded and chaotic scene.