Watch Moloch

Moloch from 1999 is a contemplative film directed by the eminent Russian filmmaker Alexander Sokurov, known for his uniquely artistic and often meditative exploration of historical and moral themes. Starring Elena Rufanova, Leonid Mozgovoy, and Eva Mattes, the film delves deep into the human psyche, set against the turbulent backdrop of World War II and the inner workings of the Nazi elite, though not by taking the usual pathways depicting the war or the Holocaust.

The narrative of Moloch follows a day in the life of Adolf Hitler, played by Leonid Mozgovoy, examining the banality and domesticity of evil through an intimate and surreal portrayal. Rather than focusing directly on Hitler's political activities or military strategies, Sokurov examines the more personal and private aspects of his life. This approach serves to illustrate the peculiar normalcy that can exist even in the lives of history's most notorious individuals, and how this normalcy forms a stark contrast with the atrocities they are capable of orchestrating.

Elena Rufanova portrays Eva Braun, Hitler's long-time companion, and later wife, who is living a life of isolation and psychological complexity. Her portrayal is critical in drawing attention to the human emotions and interactions that take place within the Nazi leader's inner circle. Eva Mattes plays the role of Magda Goebbels, providing yet another perspective on life within the secluded Berghof residence, the Fuhrer's mountain retreat.

Sokurov's cinematic style is often characterized by its painstakingly crafted atmosphere and long takes, which are fully present in Moloch. Through the use of ethereal camera work and a deliberate pace, the director conjures a sense of confinement and suffocation, mirroring the claustrophobic life of the people surrounding Hitler. This gives the audience not just a window into events but also a visceral sense of the tediousness and grotesqueness of their existence.

The film's title, "Moloch," refers to an ancient deity to whom sacrifices were made, an apt metaphor for the destructive force represented by Hitler and the countless lives sacrificed during his time in power. The title underscores one of the film's central themes—the idea of power as both an entity that demands sacrifice and a force that consumes those who yield it.

In terms of narrative, Moloch does not adhere to traditional plot structures with clear arcs or climaxes, which is typical of Sokurov's films. Instead, it meditates on the decay and emptiness of its characters' lives. The interactions among the principal figures are often tinged with absurdity and a sense of unreality, as though to emphasize the dissonance between their mundane concerns and the monstrous acts with which they are associated.

The production design and attention to period detail are notable. The film successfully reconstructs the period with authenticity, from the costumes to the architecture, and this makes the viewer's immersion into the past all the more convincing. The cinematography, often shrouded in a murky palette, aids in crafting a haunting and oppressive atmosphere that lingers long after the movie has ended.

Moloch's approach to examining the human dimension of historical figures, particularly those as controversial as Adolf Hitler, demands much from its audience. Rather than providing the satisfaction of a definitive judgment or the comfort of a familiar narrative, it presents a more enigmatic and uneasy exploration of its characters. It's a film that resists simple interpretation or categorization and invites viewers to reflect on deeper ethical and existential questions.

The performances in Moloch are intense and carefully measured. Leonid Mozgovoy's portrayal of Hitler is not a caricature, but a studied, uncomfortable deep dive into the psyche of a man who is at once powerful and pitiable, commanding yet pathetically human. Similarly, Elena Rufanova and Eva Mattes offer layered performances that reveal their characters' psychology through subtle cues and nuanced expressions.

As is common with films that focus on historical figures known for their atrocities, Moloch has been the subject of debate and analysis for its daring approach. The movie does not seek to exonerate or humanize its subjects, but rather to explore the unsettling normalcy alongside their horrific legacy.

In conclusion, Moloch is a provocative historical drama that eschews conventional storytelling in favor of an atmospheric, character-driven portrait of one of history's darkest chapters. Alexander Sokurov crafts a film that is as much a philosophical inquiry as it is a cinematic experience, one that uses its historical setting not to tell a history lesson, but to meditate on the nature of power, evil, and human fallibility. It requires an audience willing to engage with these themes on a level that goes beyond the surface, providing food for thought for those curious about the intersection of the mundane and the monstrous.

Moloch is a 1999 drama. It has received mostly positive reviews from critics and viewers, who have given it an IMDb score of 6.7.