The White Ribbon

Michael Haneke’s films regularly have violence as their central issue. The White Ribbon is no exception, but as with most of his films to date, the violence is only swiftly shown or not shown at all. What causes violence? Haneke himself doesn’t know, and his films are always open ended on the issue and open to interpretation. The White Ribbon is the most ambiguous of all. Set in northern Germany, just before the outbreak of the World War I, the film focuses on a small village and the seemingly random acts of vandalism and violence that befall it’s inhabitants. This isn’t riveting stuff though. Black and white, slow paced, confusing. It sounds like the dream film for the jury at Cannes (it was, winning the 2009 Palme d’Or). However, this film does get under your skin, even if you don’t realise it at the time. Though beautifully shot, the village is a desperate place to live. Children are abused, the women are repressed and the rich have the poor’s livelihoods' in their hands. As violent incidents begin to occur it’s never explained who is doing them and what their motive is. There are plenty of reasons and motives that could be applied, but there are no answers given (classic Haneke). It’s too trite to say Haneke is using the village as an allegory of the whole of Germany at that time. However, it’s fair to interpret the unsettling and untrusting tone as a hint at the fascism that was to come. Haneke originally planned this as a mini series, which possibly may have worked as a better vehicle for his vision. However, it that had happened it’s unlikely to have reached such a wider audience, of which this is definitely deserving. This isn’t Haneke’s greatest film, but it’s certainly his most mature.

The OC Film Sting Final Verdict
Not the masterpiece it’s been made out to be, but this is a serious film dealing with serious issues and will certainly have you thinking back to it many days after you have left the cinema. Rating: 7/10.