Daniel Brühl did not receive an Oscar nomination for portraying Jan in The Edukators.
The Edukators follows three wannabe radicals who disrupt the homes, as literally just mess around with their possessions, of rich people as their acts of rebellion.
The duo is initially Peter (Stipe Erceg) and Jan, who are eventually joined by Jule (Julia Jentsch) Peter’s girlfriend. Peter and Jan’s MO is to go into rich people’s houses, mess with their stuff and then leave cryptic messages about how their wealth will come to an end. Daniel Brühl plays the part of Jan in a fairly expected way of essentially the attempt of the “cool” radical who wants to shake things up with his friend. Something that Brühl can deliver better than some, as this role would very easily be instantly intolerable, by offering some genuine charisma and at least some nuance within Jan. Although Jan is passionate about his views with Peter, Brühl tempers his performance enough to make it so he’s someone who is at least approachable within his radical notions. He conveys the very youthful jubilation he shares with Peter as they go about what they see as their rebellion against the system, and as much as I don’t think Jan particularly sold me too much, I will say Brühl at the very least keeps him from repelling you through his natural charm and ability to not overplay the passion.
The situation complicates itself as Jan ends up sharing their particular methods with Jule, after she comes afoul of a rich man she owes money to, and she seeks guidance from the “edukators”. An element where Jan takes center stage with Jule, and even though she’s the girlfriend of his best friend, he starts becoming increasingly closer to her. Brühl and Jentsch have a strong chemistry with one another, as they create a natural ease in their interactions, and you see the ease of the gradual connection the two share. A connection that develops to an affair, where the two are very convincing in showing the passion getting the better of them, as the thrill of playing the rebels finds itself into a mutual passion for each other. Although again Brühl nicely tempers this even a bit where you see the moments before and the moments afterwards, where guilt seems to sink within his physical manner of his performance. There is shame in the betrayal of his friend, within Brühl’s expressive eyes, even if it doesn’t stop Jan from continuing the affair regardless.
Eventually the plot reveals itself as they end up kidnapping the rich man, and going far deeper into the notions of being rebels, as they are both challenged by the man and attempt to challenge him with their views. Brühl gets a strong scene where he gets to be the one to articulate their views of society, where he isn’t a great orator, but a believable sharp passion befitting more so say a college student with strong views than a full on rebel. The situation also eventually leads to Peter and Jan having a falling out, but also a reconnection over Jan’s obvious betrayal with Jule. Something where I think maybe a limitation is that Brühl and Erceg are just fine together, but not really all that dynamic. They’re convincing enough as bickering friends, but never did I find their relationship to feel all that impactful. Partially this is the limitations of Erceg’s unmemorable performance, but also the writing limits them to just a few sudden moments of running through a friendship. Brühl does what he can with what he has, but while he’s always good here, it never elevates to a truly memorable portrayal of any aspect of this story. Brühl is good though, charismatic, elevates what he can, but never made me feel his character, much like the film, was “fine I guess”.


69 comments:
Louis: Ratings and thoughts on the cast.
Louis: Your choices for the top 10 unintentionally funniest moments in prestigious drama films (so not counting B-movies like The Room).
My vote is the scene in Legends of the Fall where Pitt’s child bride dies from a stray bullet to her upper right shoulder. Just completely ragdolls.
Louis: Could you watch Man On Fire before Bale's review.
I got to see If I Had Legs, I’d Kick You last night and REALLY dug it, it was like a much better version of Nightbitch. Rose Byrne gives one of my favorite performances of the year so far, I really hope her momentum doesn’t fall off.
Michael: your ratings for the casts of If I Had Legs I’d Kick You and Frankenstein?
Louis: Curiously, after the scene with the brontosaurus in the original King Kong, the crew was supposed to encounter a trio of triceratops. The baby triceratops would have gotten shot, one would have stabbed a sailor with it's horn while another has its horn broken due to Kong throwing a boulder at it.
Having rewatched the film days ago, you have to admire how O'Brien made Kong very expressive regarding the face.
Louis: By the way, thoughts on the stegosaurus and brontosaurus sequences.
Louis, thoughts on the trailer for “Michael”?
Michael: I saw it last night too and couldn’t agree more. Weaponizes her eyes like they’re a second mouth.
Anonymous:
Jentsch - 4(Fairly similar to her main co-star for me as she brings her own chemistry that very much enlivens the character beyond the certain limitations of the writing, particularly in terms of her choosing the affair for example. However she strikes up strong chemistry with Bruhl and is consistently able to articulate the character’s state of quiet desperation combined with finding a thrill for life through their minor criminal enterprise. Jentsch consistently brings humanity to her role even if I don’t feel she is fully able to go beyond the limitations of the screenplay.)
Erceg - 3(Just not a particularly interesting performance where he is always overshadowed by both co-stars. He’s fine in a basic sense but he really doesn’t make you feel he has much going on beyond the confines of a single scene. His chemistry with both is limited at best. You don’t get a great sense of history in their interactions and he stands mostly as a vague being within the scheme of the film. Always seeming like the other guy in the version of that character you don’t want to be.)
Klaußner - 3(He’s okay in the annoyed rich man who comes to reveal himself to maybe be deeper. Although the potential seemed greater for someone more dynamic, more layers to the game he’s playing with them. He plays it pretty straightforward in each segment we get from him, so it feels less like a journey, or a trick, and just an actor meeting the basic requirements of a given scene.)
Harris:
OH GOD OH MAN - Tough Guys Don't Dance
Bicycle vs. Car - Deep Water (Although maybe the scene is just amazing)
“Albie” - War Horse
Errant Rollerblader - Mr. Church
Death by CGI - Meet Joe Black
Son of Sam Speaks - Summer of Sam
NOOOOOOOOOOOOOOOO - Jungle Fever
A Certain death scene - The Circle
Back to the Club/Robin Hood/Random Hologram head - The Megalopolis Collection
"Crunch" noise added to Javert's death for no reason - Les Misérables (2012)
8000's:
Those scenes are essentially depicting the old safari footage but with obviously non-real animals. But what is notable is they are depicted as acting naturally, to the degree that they could, when even we see the attack, it is that of a natural charging to try to ward of predators, making me honestly I always feeling sorry for the poor animals as it gets shot down mercilessly.
J96:
Well looks like Dewey Cox will never be forgotten as that looks like more of the same...except the elephant is here looks like it will be completely ignored.
It's *weird* how often Spike Lee will just throw in some goofy shit into the middle of an otherwise pretty good movie. It's like he can't help himself sometimes.
Harris: I feel like OH NO NOT THE BEES from The Wicker Man also qualifies for this
RIP Pauline Collins
Ytrewq: The (probably baseless) theory I have in my head about The Wicker Man is that Cage knew exactly what he was doing with that.
RIP Pauline Collins
“Albie” from War Horse has to be my favourite since it briefly goes into slow motion when the gas hits lol. I remember laughing in the cinema and struggling not to make noise whereas everyone else was dead silent lol.
Louis: That's a good list. Some of my own favorites:
Godfather III - "Then I love him first"
Disclosure - Dreaming about Donald Sutherland
Bugsy - Bugsy's meltdown
The Dark Knight Rises - Aiden Gillen as CIA/Talia's death
Louis: Which post-1997 roles do you think Burt Reynolds would've been a good fit for, assuming that his acting comeback would've lasted longer?
*I'm this Anonymous
Louis: Are you planning on watching Stranger Things 5? Even if you only watch the 2 episodes directed by Frank Darabont?
Does anyone think this could very well be the Supporting Actor nominees.
Jacob Elordi - Frankenstein
Sean Penn - One Battle After Another
Benicio Del Toro - One Battle After Another
Stellan Skarsgård - Sentimental Value
Paul Mescal - Hamnet
Luke: Probably, I'd be happy with that.
RatedRStar: For Actor, I'm feeling confident about DiCaprio, Chalamet and Moura. The other 2 spots are up in the air for me.
Luke: I think the last two Actor spots will be JAW and Michael B Jordan.
Actress is a little unpredictable, but at the moment I'm guessing:
Jessie Buckley - Hamnet
Chase Infiniti - One Battle After Another
Renate Reinsve - Sentimental Value
Rose Byrne - If I Had Legs, I'd Kick You
Amanda Seyfried - The Testament of Ann Lee
With Stone in Bugonia and Erivo in Wicked For Good also being in play.
It's funny to me that of all the musician biopics that came out in the last 10 years, Rocketman was the best of the bunch and didn't get an Actor nomination.
RIP Lee Tamahouri
RIP Lee Tamahori
RIP Lee Tamahori
RIP Lee Tamahori
R.I.P. Lee Tamahori
Your thoughts on this 2020s Cast for Judgment at Nuremberg directed by Tim Fehlbaum?
Dan Haywood: Kevin Costner
Colonel Tad Lawson: Ben Chaplin
Ernst Janning: Christoph Waltz
Emil Hahn: Jürgen Vogel
Hans Rolfe: Daniel Brühl
Mrs Berthold: Diane Kruger
Irene Hoffmann-Wallner: Sandra Hüller
Rudolph Petersen: August Diehl
Tahmeed: Why do you think JAW gets in when the film has underperformed both critically and commercially?
Regarding Die My Love:
If Mother! was a bit less obnoxious, however still about Jennifer Lawrence as a Mother! in a seemingly isolated hostile environment, where stuff gets broken. Or if Nightbitch or Tully was directed by a more cynical director in a negativity focused depiction of motherhood. All Ramsay films are mood pieces at a fundamental level, however I’d say this is the most severe film in this regard, as while not completely aimless it is very repetitive. For me this fell into one of those films where “I got it” in what the mood was saying, and that just continues to say that same thing with only minor variations. Occasionally it pulled me back in for a shot or a moment, but mostly I fell out of its rhythm and simply got tired of it despite the craft present both in some of the acting, the visual style and some of its musical choices.
Lawrence - 4.5
Pattinson - 3.5(Mostly a thankless role)
Stanfield - (Is in the movie)
Spacek - 4
Nolte - 3
You’ll probably like If I Had Legs, I’d Kick You more. It’s very cynical as well, but it was more specific than what you’re describing.
Harris:
Also "DAD?" from Godfather Part III, which is probably one of the most debilitating line deliveries for what otherwise should be a powerful scene.
Anonymous:
His short lived comeback just got me thinking about both him and Mickey Rourke as cautionary tales, where basically they said "we're back" and filmmakers said "Oh yeah that's why we stopped casting them" due to their behaviors almost immediately.
But anyway:
Jimmy Gator
Jeffrey Wigand
Matt Fowler
Frank Costello
Charles Hanson
Shaggy:
I'll probably see the whole thing.
Robert:
That's what I gathered, shame it played at only one theater near me, at the weirdest possible single showtime, for like only two days.
Tim:
Costner would probably be the right fit for Haywood. Chaplin could fit well. Pushing Waltz for a quieter work would be interesting. I'd probably go younger than Brühl, as crazy as that sounds but I think he's aged out, so maybe Albert Schuch. Hüller would be amazing. Kruger good. Diehl likely spectacular.
Harris:
My acting predictions are as follows:
Actress:
Jessie Buckley - Hamnet (Winner)
Renate Reinsve - Sentimental Value
Cynthia Erivo - Wicked: For Good
Rose Byrne - If I Had Legs I'd Kick You
Amanda Seyfried - Testament of Ann Lee (It looks likely to be Searchlight's main pony, who should not be underestimated as a campaigner.)
Actor:
Timothee Chalamet - Marty Supreme (Winner)
Leonardo DiCaprio - One Battle After Another
Ethan Hawke - Blue Moon
Wagner Moura - The Secret Agent
Michael B. Jordan - Sinners
I could certainly see a passion push for Plemons or White due to the biopic preference, however I think Hawke could be usurping that space.
Supporting Actress:
Ariana Grande - Wicked For Good (Winner)
Elle Fanning - Sentimental Value
Teyana Taylor - One Battle After Another
Inga Ibsdotter Lilleaas - Sentimental Value
Amy Madigan - Weapons
Supporting Actor:
Stellan Skarsgard - Sentimental Value (Winner)
Sean Penn - One Battle After Another
Paul Mescal - Hamnet
Benicio del Toro - One Battle After Another
Jacob Elordi - Frankenstein
Louis: What are your ratings and thoughts on the cast of All That’s Left of You?
Louis: Great, thanks. Could I get your predictions for Picture, Director and Original Screenplay also?
Louis: Thoughts on the cast of Die My Love.
Louis: Have you finished any other shows recently? Curious on your thoughts on stuff like Peacemaker S2 or maybe even Task.
First episode of Pluribus is awesome and UNNERVING as all hell.
Ahh now that’s the lyrical sweet spot I was looking for, but failed to find with Life of Chuck. Train Dreams is a gorgeously shot exploration of the meaning of life, through a singular life, that it depicts so tenderly, though never in distracting sentiment, rather crafting such a profound portrait of the way a life is crafted through moments of gentle care, indifference, painful trauma, and just simple existence. Working with frameworks crafted by Malick, and even The Assassination of Jesse James (including an all too brief sighting of Paul Schneider doing the one thing he does brilliantly, which is completely live within a period piece), the film still crafts its own path in granting poignancy that emphasizes dreams, reality, the grand moments of impact, but just as importantly the small moments that perhaps makes this the most universal, despite being so distinctly within its own time and place.
Jones - 4
Condon - 4
Diehl - 3.5
Schneider - 3.5
Arcand - 3.5
Patton - 4(Now this is how you do narration Offerman.)
Louis: Did you forget Macy, or are you saving him? And your thoughts on the cast?
Lucas:
Bakri, Dabis, Bakri & Bakri - 3.5(Essentially they're all good, however it shows the limitations of their roles that none of the performances came to life to me beyond a basic emotional truth. They achieved that but didn't hit beyond that for me due to the limitations of their characters.)
Harris:
Picture:
One Battle After Another (Winner)
Hamnet
Sinners
Sentimental Value
Marty Supreme
Wicked For Good
Frankenstein
Avatar: Fire & Ash
It Was Just An Accident
Testament of Ann Lee
Director:
PTA - One Battle After Another (Winner)
Chloe Zhao - Hamnet
Ryan Coogler - Sinners
Josh Safdie - Marty Supreme
Joachim Trier - Sentimental Value
Adapted Screenplay:
One Battle After Another (Winner)
Hamnet
Frankenstein
Wake Up Dead Man
Train Dreams
Original Screenplay:
Sentimental Value (Winner)
Marty Supreme
Sinners
It Was Just An Accident
The Testament of Ann Lee
Luke:
Lawrence - (An intriguing performance even if the pathway may be a little too random to become something even greater, even if the raw materials seem quite present. Lawrence brings a genuine force to be reckoned in this instance where the random intensity she brings creates a naturalism within her own insanity that makes all the biting. Her switching from exhaustion, to genuinely spiteful, to violent, to almost comedic in her reaction to certain events, Lawrence makes it all extremely easy seeming and fully embodies the spirit of the film. I do wish it let her build towards something with it, instead of just needing to do whatever random thing next she was do, but Lawrence at least gives emotional meaning to every choice. Beautifully balancing style, with honesty to creating a convincing anchor at the center of it all.)
Pattinson - (His character really is designed as an enigma not so much as a mystery, rather he is whatever he needs to be for the situation to continue its dire path. There aren't really connections in the same way because he too is random yet our perspective is obscured lending far less of a believably anchor to him. I think acquits himself decently in being this essentially pesky energy where everything fundamentally is about him, but we aren't allowed in beyond a cursory point by design.)
Spacek - (Hey I will always take a decent Spacek role, even this one that truly has some random asides. However Spacek I think makes them work just by owning every moment, and basically playing her part as if she's gone through Lawrence's situation but is now looking back at it. She plays into the madness a bit occasionally, and even knowing in some of her reactions, that add a bit more to her character than just behavior. Spacek, unsurprisingly, makes her character convincing even when the writing leaves her vague to a certain degree.)
Nolte - (I liked his portrayal of dementia for the very brief moments we get of him, sadly we get far too little from him.)
Harris:
I did not forget Macy.
Wait till it hits Netflix as it would be difficult to avoid spoilers.
Perfectionist: What are your top 10 favourite Sopranos episodes, and your ranking of the seasons?
Marcus: If you don't mind my asking, how did you first become interested in cinema?
I loved Frankenstein, and I really hope Elordi gets nominated.
Isaac - 4.5/5
Elordi - 5
Bradley - 4.5
Waltz - 4
Goth - 4
Mikkelsen - 3.5
Kammerer - 3
Dance - 3
Two episodes into Pluribus and it has me hooked. You're gonna be hearing a lot of praise for Rhea Seehorn in this, and it's all deserved.
Louis: since Jacob Elordi replaced Andrew Garfield as The Creature I’m curious to know how you think Garfield would’ve faired in the role
Nuremberg is wholly watchable albeit in as straightforward of a way as possible. It isn’t truly uncovering any truly new dynamic, just offering the perspective of the psychiatrist vs. the fiendish criminal within the historical setting, while hitting the historical beats associated with it. It’s presented well enough to be compelling enough, although its attempt to try to develop something new through the fate of our main character sadly feels tacked on to explain its final title card rather than a natural development of what came before.
Crowe is supporting albeit in a DDL in Gangs type of way.
Malek - 3
Woodall - 4
Slattery - 3
O'Brien - 2.5
Hanks - 2.5
Schmidt - 2.5
Shannon - 3
Grant - 3.5
Anonymous:
Very hard to say, because it is hardly like any role Garfield has ever done before, but he certainly has the talent to pull something off, likely different though. Although to begin with he wouldn't have had Elordi's natural asset of his extreme height which is kind of ideal for the role.
Looking forward to both Edgerton and Crowe's reviews.
Louis: Thoughts on Woodall.
'DDL in Gangs'. Sounds like a major compliment.
Could I get your thoughts on the rest of the Nuremberg cast, though I get the sense there's not a whole lot to say about most of them.
Louis: Your top ten sword fights in films.
Put me firmly in the "loved GDT's Frankenstein" camp.
While I'm at it, here's my Letterboxd profile: https://letterboxd.com/aoisato/
Tony: Thank you for asking. The first film I remember watching on TV was The Prince of Egypt with my dad. I wasn't really into 'serious' cinema, and was honestly more of a franchise guy, starting with the Star Wars prequels and Harry Potter. I was still kind of aware of the Oscars, as my family made a point to rent the Best Picture winner almost every year, and we'd talk about whether the film seemed deserving (my brother was an ardent Social Network over King's Speech guy, I still trust his taste a lot lol).
What really sparked my love for cinema in general was my high school literature class, as my teacher preferred showing Shakespearean film adaptations as often as possible. Among them, I loved Branagh's adaptations and the '68 Romeo and Juliet the most. I ended up seeking out more performances by actors starring in these films, and reading reviews by Ebert right after. Tangentially related, I think the exact Oscar speech that lead me to the blog was Pacino's win for Scent of a Woman, after I checked to see if Denzel had won haha.
Louis: Curiously, 2002 was the only time Lee, Choi and Song were all in the Best Actor category in the Blue Dragon Awards.
Louis: Also, your top 10 South Park characters.
Louis: Are you saving anyone from the supporting cast of Train Dreams?
Luke: What ratings are you predicting for The Rock, Hawke, Jordan and Plemons?
Harris:
Johnson - 4
Hawke - 5
Jordan - 5
Plemons - 5
Lucas: He's saving Clifton Collins Jr. and William H. Macy.
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