Bonhoeffer Pastor. Spy. Assassin

Heroes come in many forms, and, regrettably, they often go unrecognized for their efforts, which is why movies honoring them for their accomplishments can be so vitally important, particularly in attempts at correcting the oversight of being overlooked. However, when it comes to writer-director Todd Komarnicki’s cinematic tribute to Dietrich Bonhoeffer (1906-1945) (Jonas Dassler), a little-recognized German theologian who was sharply critical of the Nazis’ treatment of Jews and imprisoned dissidents during World War II, that noble goal goes largely unfulfilled. To be perfectly honest, this film is dreadfully dull, relying on a lot of preaching and protracted conversations to carry the narrative, not exactly what I would call engaging and compelling viewing. Indeed, if Bonhoeffer was supposedly so influential in spearheading German resistance against the Third Reich and criticism of Germany’s national church for its silence toward and complicity with Adolf Hitler’s policies, his initiatives, at least as portrayed here, aren’t particularly enlightening or instructive. To make matters worse, the picture’s flashback-oriented approach alternating between Bonhoeffer’s final days and events from his past lends little to telling his story, occasionally causing pivotal developments in his life to become more muddled than enlightening. Perhaps this production’s biggest sin, however, is its alleged tampering with the facts, including events that never took place, others whose content was significantly altered and still more for which there are only vague suggestions about their validity but for which substantial proof is lacking. The result is a release where viewers might easily come away from it not knowing what to believe given its fabrications, alterations and lack of coherence. That’s even apparent in the title, whose qualities attributed to the protagonist could be considered specious, at least when it comes to his supposed role as spy and assassin. To its credit, though, there are moments when Bonhoeffer’s outspoken views are presented through powerfully delivered statements (though the same could also readily be said of the words of some of his peers), but they’re too few and far between for my tastes. In addition, Bonhoeffer’s prolific career as a writer goes largely unnoticed, reducing his 34 volumes of work to little more than a footnote and a few passing references. It’s truly sad to see a film that gets things wrong as badly as this one does, especially when it comes to recognizing the work of someone who is said to have had as much impact as he did. Unfortunately, the oversights here continue.