Mourn For The Greater Good.
Petzold works on the vibes of the film. He is very careful about the fact of how the entire thread comes off to the audience. There is catharsis in your lungs when the air turns into navel-gazy nail-biting drama. This is where Christian Petzold; the director’s, target lies. He feeds off on this energy and so does their character. Personally what appealed to me the most from the film is the calmness it conjures on the screen despite of the high stakes threats ticking behind these characters.
The protagonist, when alone, is always on the run, initially physically and latter in the film from his thoughts. But when he shares his screen with a boy having a catch or two, or having a cup of coffee in the cafe with a fellow being, there is a soothing humble look in his eyes where you find yourself sinking peacefully, a bit wounded, but satisfied. This mirror-like trajectory to Michael Curtiz’s Casablanca rebooted with a style that matches the comparison it comes with.
The novel by Anna Seghers from which Petzold adapted the film, has had the essence of triggering impactful drama within a snap and Petzold has definitely encouraged that in here, from deriving the first meeting by iterating the scenario variously to bonding over a quick game that creates a heartwarming equation within a snap. Georg (Franz Rogowski) our host is pretty much reading someone else’s diary throughout this journey, he is always the third person in the room that allows us to welcome him with open arms as he shares the same stage with us, while the other supporting cast does a decent work on advancing the storytelling. Transit is neither a romance nor a thriller, it is a typical drama that works it’s way up the ladder through empathy and not manipulation.