Review

Neither overtly romanticizing nor villifying its left-wing terrorist subjects, The Baader Meinhof Complex explosively examines the notion of armed struggle in developed countries while at the same time making sure to move at a rapid enough pace to keep even the most non-politically-minded viewers thoroughly entertained. Almost immediately, director Uli Edel establishes in his opening scene that TBMC is not going to be your average political docudrama. Suddenly on an idyllic beach meant to evoke bourgeious comfort two naked little girls run into frame after being called back from the water by their doting mother Ulrike Meinhof (Martina Gedeck). Perhaps the sight of naked children in an action thriller would not prove as shocking to a European audience, but, to this American reviewer, it was an imediate notice that this film would never cave to normal expectations. When a busty naked blonde wanders into frame shortly afterwards, somewhat gratuitously, it's clear that Edel's background in sleazy exploitative thrillers (Edel is the director of the notorious Madonna-starred Basic Instinct-rip-off Body of Evidence. Of course, the shocking scenes of nudity slow down (although there are a handful of other nude scenes to wake up prurient-minded viewers scattered throughout the movie) but Edel's tendency to tittilate rather than educate continues as the action of the film moves at a clip that will soothe any viewers wary of European films and their tendency to move at a slower pace than their American counterparts.

Following the founding members of the notorious Red Army Faction, a West German left wing terrorist organization that was active from the late 1960s until the wearly 1980s, TBMC takes pains to stay neutral as to whether the Red Army was evil or simply misguided. Yes, Andreas Baader (Moritz Bleibtreu), the de facto leader of the group, is portrayed as a hot-headed, misogynistic psychopath and the group is seen behaving like spoiled children and cold-bloodedly murdering innocent civilians, but all of their violent activity is preceded by a scene which works as an explanation, if not a justification, of their actions. An angry, but nonviolent, student protest is suddenly (and without provocation) attacked by baton-wielding riot police. The sheer brutality of the scene which spans several minutes of the running time and shows police senselessly beating protestors refusing to allow them to leave to seek medical attention before one menacing officer shoots an unarmed protestor in cold blood is enough to give nightmares to anyone who has ever attended a political demonstration. It is this senseless and state-sponsored brutal violence and murder which leads bourgeious journalist and mother Meinhof to join up with Baader and his girlfriend/co-conspirator Gudrun Ensslin (Johanna Wokalek). The three set out recruiting members (strongly aided by Meinhof's gift for propaganda) and begin setting off bombs, robbing banks and training for guerilla warfare.

But, as stated earlier, they are not shown as heroes. They kill innocent civilians. Baader reacts violently to anyone who challenges his ideas or leadership. They refuse to modify their behavior or amount of clothing when training at a Jordanian terrorist camp and even conspire to have one of their own killed for less-than-political reasons. Eventually, all three end up in prison, held in solitary confinement before they are subjected to a long circus trial that features repeated walk outs and the eventual deaths of several crucial characters. TBMC works so well to engage viewers to contemplate the concept of armed struggle in a developed, ostensibly "free" Western democracy because of its explosive chase scenes, shoot outs, gratuitous nude scenes and refusal to overly hero-ize and villify either side of the conflict. Viewers are left to take a thrill ride that will lead to both tittilation and contemplation, a feat that very few films can hope to achieve.

 -- Daniel Reed

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