In response to José’s excursion into the world of Michael Curtiz a few months ago, Mike has picked four films of his own to discuss, the first being writer-director Dennis Gansel’s 2008 high school drama Die Welle (The Wave). Based on the true story of a 1967 social experiment, Die Welle follows one week in a high school in which, as an exercise intended to teach his pupils about the methods and dangers of fascism, a teacher creates a fascist movement, named The Wave, that rapidly spirals out of control.
Die Welle is first and foremost remarkable for convincingly depicting the seductive aspects of fascist movements, such as the shared symbols that engender group unity and, indeed, simply the positivity of being a member of a like-minded group. Mike compares it to Starship Troopers, claiming that it doesn’t just argue its case but actually makes it work on its audience – rather than seeing why The Wave is appealing to the kids, you feel it too. José discusses what sets it apart from your typical high school movie and how an even greater focus on the kids, rather than the teacher, might have strengthened it.
The classroom scenes allow the film to develop its arguments about fascism through ersatz Socratic dialogues, the teacher’s seminar-style classes allowing pupils to make competing points in quick succession, clashing with each other as they do so. But Mike points out that perhaps all is not what it seems: one student, for instance, goes unchallenged when she claims that high unemployment and social injustice are social conditions that favour dictatorship, but the world in which these children live bears few markers of such sociopolitical problems, yet they enthusiastically join and build their movement. Indeed, one motivation behind the experiment is the students’ belief that Germany, having already experienced a fascist dictatorship, is immune from another. Perhaps, the film suggests, we aren’t quite as clever and protected as we’d like to congratulate ourselves on being.
Aside from the film’s central thesis, there are minor details in its world that pique our interest, José noticing the students’ access to and expertise in the use of image editing and web design software; Mike picking up on the educated, liberated attitude to sex the characters display (it’s hard to imagine an American high school movie treating sex with similar freedom and confidence). We remark upon how believable the characters are (with perhaps one exception) in their interactions and responses to the nascent movement.
Neither of us can claim that it’s a perfect film – there’s little in it that is visually expressive, and its mechanisms are too openly displayed, with some characters too clearly intended to represent ideas and serve plot functions. But Die Welle is an enormously engaging, intelligent, and rather bold exploration of the mechanisms and appeal of fascism that enthusiastically uses cinematic affect to convey its message that we may all be more susceptible to its dangers than we think.
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