The Baader Meinhof Complex (2008): review

A densely packed history

Uli Edel’s film follows the development of RAF terrorism and its protagonists from the late sixties to the German Autumn. This is an extensive historical span, requiring numerous events and people to be brought together.

The density of information is both an asset and a difficulty. Much is reconstructed vividly and with considerable effort. Rapid movement between successive stages, however, leaves limited time to understand the characters’ motivations and changes on an emotional level.

Presence does not replace depth

Moritz Bleibtreu as Andreas Baader and Johanna Wokalek as Gudrun Ensslin have considerable presence. Martina Gedeck plays Ulrike Meinhof, whose character feels less compelling to me than I expected from such a central role.

The ensemble is a strength overall. Yet the psychological developments sometimes remain too compressed. The film shows what happens more effectively than it consistently explores how the characters reach that point. A degree of emotional distance follows.

Immediate images without comfortable nostalgia

Rainer Klausmann’s mobile camera gives the scenes immediacy. Production design and the careful recreation of the period contribute to a convincing setting. The seventies are not merely displayed as attractive retro decoration.

This treatment can be forceful, particularly during violent events. It does not resolve the underlying narrative problem, though. Between all those milestones, the story sometimes lacks the quiet and concentration needed to turn a dense chronicle into a consistently absorbing character drama.

Verdict

The Baader Meinhof Complex is a respectable and elaborately realised film, with strong moments from its actors. The abundance of events and limited psychological depth prevent an equally strong emotional connection. Impressive reconstruction and persuasive drama do not always coincide here.