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In “The White Ribbon,” director Michael Haneke focuses on a small Protestant village in Germany during the two years leading up to World War I (July 1913 to August 1914) in order to ponder the origins of the brutal violence that took place in that country over the next three decades.
The film begins with the local doctor falling from his horse due to a wire being strung between two trees. As the story progresses, the acts become more brutal and vengeful. Narrated in hindsight by the local schoolteacher (Christian Friedel), “Ribbon” centers around the children he instructs. They represent a socio-economic cross-section of the town, coming not just from the homes of Barons and doctors but of lowly tenant farmers, as well.
As the violence and disloyalty continues, striking deep into the moral heart of the village, the parents begin to take out their frustrations on the children. After one misdeed, the pastor places a white ribbon on two of his children’s arms and reminds them of the need to uphold innocence and purity.
Meanwhile, the schoolteacher has fallen in love with Eva (Leonie Benesch) and the innocence of their courting is contrasted with the loss of innocence in the village.
“Ribbon” offers an interesting and well-detailed perspective of village life in Germany during the early 20th century and on the violent loyalty implemented in the country due to this life. The film is not afraid to portray stark violence and equally violent moral decisions, but this is not much of a surprise. Though the dialogue can be a bit heavy-handed (i.e. when the pastor puts the ribbons on the children and plainly explains the film’s themes), the storytelling is emotionally genuine.
The all-German ensemble is superb, particularly the children, who play their roles with mischievousness and menace. In an early scene, the schoolteacher, after seeing a son of the pastor (Leonard Proxauf) walking along the railing of a foot bridge, asks the boy why he would do such a dangerous thing. The boy hauntingly replies, “I wanted to give God a chance to kill me … to see if he would.” The line hits hard for many, but there are those who will roll their eyes.
The overall effect of “Ribbon” is typical of Oscar nominees for Best Foreign Language Film. To those hesitant about films in this category, “The White Ribbon” would appear to be just another artsy European take, but for those who are into that, it is an intelligent, well-handled period piece.
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