Die Fälschung
| Die Fälschung | |
|---|---|
| Directed by | Volker Schlöndorff |
| Produced by |
Eberhard Junkersdorf Anatole Dauman |
| Based on |
Die Fälschung by Nicolas Born |
| Starring |
Bruno Ganz Hanna Schygulla Jerzy Skolimowski Gila von Weitershausen |
| Music by | Maurice Jarre |
| Distributed by | Kino International |
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Release date
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Running time
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110 minutes |
| Country | West Germany, France, Lebanon |
| Language | German, English, French |
Die Fälschung (French title: Le Faussaire; English title: Circle of Deceit) is an anti-war film directed by Volker Schlöndorff and internationally released in 1981. An international co-production, it was an adaptation of Nicolas Born's novel of the same name, which had appeared in 1979. The film follows a German journalist sent to Beirut to report on the Lebanese Civil War, which had begun in 1975.
Journalist Georg Laschen (Bruno Ganz) is sent to Beirut, where he is supposed to report on the local civil war. His feelings about this mission are influenced by the fact that his marriage to his wife Greta (Gila von Weitershausen) back home is dysfunctional, and the conflict in Lebanon remains incomprehensible to him.
He feels that his comments and his own problems to understand the situation don't really count because violence sells anyway. Subsequently he feels that his reports aren't real journalism and by pretending to be that they can downright be considered deceit (or in German: Fälschung).
After a fling with a local lady named Arianna (Hanna Schygulla) he happens to kill a man. He realises how relatively easily one's moral standards can be corrupted in a violent environment and how hard or even impossible it is to remain unbiased as a journalist.
The film was shot on location in Beirut. The Lebanese Civil War, which began in 1975, would continue until 1990. The New York Times remarked that it was "filmed in 1980 under remarkable conditions: with its crew confined to "safe" portions of Beirut while the fighting went on elsewhere, but with ubiquitous evidence of real warfare everywhere."
The New York Times described it as "a balanced, thoughtful, extremely moving vision of wartime tragedy."
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Wikipedia