Taking Sides

Istvan Szabo stands unchallenged as arguably the greatest living Hungarian filmmaker, his reputation meticulously constructed over decades through period dramas that dissect the tumultuous twentieth century of Central Europe—a century scarred by world wars, revolutions, and authoritarian regimes. Among his distinguished oeuvre, Mephisto (1981) remains his most celebrated achievement, an Academy Award-winning masterpiece that probes the ethical compromises of an artist navigating the treacherous waters of Nazi Germany. Twenty years later, Szabo directed Taking Sides, a film that, while operating in a different historical moment, functions as a spiritual sequel to Mephisto, examining similar moral dilemmas through the lens of post-war reckoning rather than pre-war collaboration.

Based on Ronald Harwood's 1995 stage play of the same name, Taking Sides benefits from the British author's profound understanding of the Nazi era and its aftermath. Harwood, whose works frequently engaged with the complexities of Nazism, would shortly after write the screenplay for The Pianist—a film that earned him the Oscar for Best Adapted Screenplay. This historical coincidence proved ironically detrimental to Szabo's film, as it would be overshadowed by Harwood's more commercially successful project. Taking Sides presents a slightly fictionalised account of the true story surrounding Wilhelm Furtwängler, the renowned German conductor investigated by American authorities for alleged collaboration with the Nazi regime—a narrative that, while set in the immediate aftermath of World War II, resonates with unsettling contemporary relevance.

Where Mephisto chronicled the journey of a talented actor who gradually compromised his leftist principles to thrive under the Third Reich, Taking Sides unfolds in the devastated landscape of post-war Germany, where reconstruction seems a distant dream amid the growing rift between the victorious Allied powers. In the American sector, General Wallace (R. Lee Ermey) oversees the de-Nazification process and orders his subordinate, Major Steve Arnold (Harvey Keitel), to dismantle the reputation of Wilhelm Furtwängler (Stellan Skarsgård), the celebrated conductor accused of supporting Hitler's regime. Arnold's investigation is assisted by Lieutenant David Willis (Moritz Bleibtreu), a young German Jew who fled Nazi persecution, and Emmi Straube (Birgit Minichmayr), daughter of an executed resistance member. Their findings reveal a complex reality: while Furtwängler remained in Germany and maintained his prestigious position, he never embraced Nazi ideology, despised anti-Semitism, and actively used his influence to protect Jewish colleagues and associates. To Arnold, however, these nuances matter little; he fixates on Furtwängler's decision to stay in Germany rather than emigrate, determined to brand him as a collaborator regardless of the moral complexities.

Taking Sides proves a fascinating exploration of the ethical quandaries that persist even after an oppressive regime has fallen—quandaries that can be as morally complex in the aftermath as during the tyranny itself. Here, the tables have turned from Mephisto: like Szabo's earlier protagonist, Furtwängler made the fateful decision to remain in Germany, but unlike the opportunistic actor of Mephisto, Furtwängler never actively cooperated with the Nazi regime. Instead, he becomes the target of what borders on sadistic bullying by Major Arnold, an American officer armed with the unquestionable authority of the occupying power. This power dynamic creates the film's central tension—not between artist and tyrant, but between victor and vanquished, where the moral high ground proves far more elusive than the triumphant Allies would prefer.

From a technical standpoint, Taking Sides benefits from a decent budget that convincingly recreates the bombed-out desolation of post-war Germany. One particularly interesting detail is the inclusion of an actual US Army educational film instructing servicemen to view Germans with suspicion—a subtle commentary on Arnold's own prejudicial attitude toward the defeated nation. The casting is impressive, with Harvey Keitel delivering a powerhouse performance that overshadows his co-stars, including the typically reliable Stellan Skarsgård. Keitel's Arnold is a fascinating study in ideological rigidity—a man so committed to his mission of de-Nazification that he becomes morally indistinguishable from the very regime he seeks to eradicate.

Yet despite its promising premise and strong performances, Taking Sides remains a profoundly unsatisfying cinematic experience. The film is remarkably dry, by-the-book, and emotionally unengaging—a stark contrast to the nuanced, character-driven storytelling that characterised Szabo's earlier work. It feels as though the director, who had previously demonstrated such remarkable sensitivity to moral complexity, had run out of creative juices. The characters remain stubbornly one-dimensional: Arnold is pure ideological bulldozer, Furtwängler a saintly martyr, and the supporting characters little more than narrative functions. Most damningly, the film's climax—Furtwängler's eventual acquittal—is delivered indirectly, robbing the audience of the cathartic resolution the narrative desperately needs. This structural choice transforms what should be a powerful moment of vindication into a mere footnote, emblematic of the film's broader failure to engage with its material on an emotional level.

Taking Sides was generally well-received by critics upon release, but it soon faded into relative obscurity—a fate influenced by several unfortunate contextual factors. Most significantly, it premiered shortly after the September 11, 2001 attacks, entering a cultural landscape suddenly preoccupied with questions of national security, patriotism, and the morality of military intervention. Some critics interpreted Arnold's portrayal as the film's villain—as an American military officer imposing his will on a defeated nation—as reflecting the growing anti-American sentiment worldwide. In the immediate aftermath of 9/11, when American cultural production was largely rallying around patriotic themes, Taking Sides' critical perspective on American authority proved poorly timed.

Furthermore, the film suffered from being released alongside Harwood's The Pianist, which not only dominated the awards season but also presented a more conventional, emotionally accessible Holocaust narrative. Where Taking Sides demanded intellectual engagement with uncomfortable moral ambiguities, The Pianist offered the catharsis of a clear hero-villain dynamic—a contrast that proved decisive in the marketplace of post-9/11 cultural consumption.

In the end, Taking Sides represents a missed opportunity from a master filmmaker. While its subject matter remains profoundly relevant—particularly in our current era of contested historical memory and geopolitical tension—Szabo's execution proves disappointingly flat. The film's failure to transcend its stage origins, develop its characters beyond ideological archetypes, or provide emotional catharsis ultimately undermines its important thematic concerns. A more nuanced, character-driven approach might have transformed this historical inquiry into the timeless moral exploration it aspires to be. Instead, Taking Sides remains a competent but ultimately forgettable entry in Szabo's filmography—a cautionary tale about how even the most talented directors can falter when confronted with material that demands emotional depth alongside intellectual rigour.

RATING: 4/10 (+)

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