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"IN THE BUNKER you see the real Hitler: the nihilism, the need to destroy for its own sake," argues Joachim Fest, author of Inside Hitler's Bunker--one of the sources of Oliver Hirschbiegel's Downfall, the first German film since G.W. Pabst's The Last Act (1955) to portray the final days of Hitler. Ironically, what makes Downfall such a powerful film is the way writer-producer Bernd Eichinger balances this against Hitler's humanity.
The problem dramatically and historically of portraying Hitler as a monster of destructiveness and evil is that you ignore the capable politician of the 1930s, his genuine kindness to his intimates, and that before the monumentally ...