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"The plot in Good is more or less a dramatization of the notion that "the only thing necessary for the triumph of evil is
for good men to do nothing." The movie Good is pretty schematic in laying out that notion: betraying its theatrical roots,
perhaps. But it demonstrates the surprising power of character flaws in drama. How else to explain that the portrayal of a
good man who does nothing in Good should prove more dramatically compelling than the stories in Valkyrie and Defiance of
good men who did good?" Bob Mondello NPR "Mortensen offers a solid performance as the man who believes in books but is unwittingly swept into a role in Hitler's SS that is decidedly uncomfortable for him. His comfort zone lies with Maurice, with whom he shares academic intercourse. Hence, the way events evolve and John becomes a prisoner of the dashing uniform which his new wife Anne finds sublimely attractive, is unconscionable. As Mortensen said during his Sydney visit, this is a film that doesn't offer audiences a pat ending, but illustrates the unnerving normality of evil." Louise Keller URBAN CINEFILE "Mortensen’s performance is very fine indeed, and there are a few stinging zings: one is an ironic tribute to the fanatical recordkeeping of Nazis, the other is the final scene of the film, when Halder at last recognizes the evil all around him, and retreats to a place inside himself that, we wonder, he may never escape." MaryAnn Johanson FLICKFILOSOPHER "As a professor drafted into the Nazi Party (despite his liberal ideals), Viggo Mortensen, in the tiny but worthy Good, does what may be his most fascinating acting. He reveals the soul of an intellectual who's enlightened to everything but where the lust for ? absolute power leads. Worth seeing for Mortensen, who makes this study of a 'good German' look creepily contemporary. He shows us the horror of ignorance." Owen Gleiberman ENTERTAINMENT WEEKLY |
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"One of few admitting itself 'a story with a message', Good exhibits the single-minded approach of most such works, an
effect increased by the necessary concentration of stage origins. In memoriam to Scottish playwright Taylor, who dwelt on
idealism in the face of corruption, and to producer Miriam Segal’s "devoted to the betterment of the world". Fable and
allegory have often served to urge tolerance and mercy, so why not today, too, on the screen?" Donald J Levit REELTALK MOVIE REVIEWS "Good takes a close look at the 'good Germans' of the Nazi era. One of the suave Nazis who convince Halder of his useful contributions to the war effort is Mark Strong in his third, completely different villain this year. Worthy attempt to give the banality of bureaucratic evil both an individualized credibility and a somber universal warning." Nora Lee Mandel FILM FORWARD "Breakthrough narrative feature director Vicente Amorim pulled off the brass ring when he got the green light for something completely different: Viggo Mortensen without a history of violence. "Good" is good news for Viggo Mortensen in that he gets to flex his acting chops in a new direction." Ron Wilkinson MONSTERS AND CRITICS "This film contributes to the important debate about morality in times of political trauma and oppression of personal freedoms. It continues the questioning of German society before and during the war, examining how perfectly 'good' man could end up wearing the hated SS uniform, without having actually done anything evil. Or has he?" Andrew L Urban URBAN CINEFILE "Absorbing drama about a good man who is blind to the horrors of Germany's Nazi regime. Tells with escalating tension the story of a presumably decent man whose bland acquiescence to Nazi terror makes him a horrified accessory. Viggo Mortensen is outstanding as a head in the clouds lecturer who allows a novel he wrote exploring euthanasia to be exploited in support of Hitler demented theories about a master race. Bottom Line: Absorbing drama about a good man who is blind to the horrors of Germany." Ray Bennett HOLLYWOOD REPORTER |
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Director Adapted from Screenplay Producers Original Music Cinematography Film Editor Casting Production Designer Supervising Art Director Art Direction Set Decoration Costume Designer Key Makeup Artist Location Manager |
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Vicente Amorim the play by C.P. Taylor John Wrathall Sarah Boote/Billy Dietrich/Kevin Loader Dan Lupovitz/Miriam Segal Simon Lacey Andrew Dunn John Wilson Jeanne McCarthy Andrew Laws Andreas Olshausen Adrienn Asztalos Daniele Drobny CGyörgyi Szakács Erzsébet Forgács Szabó Sándor |
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John Halder, is a good, decent individual with family problems. A German in the 1930s, Halders life is taken up with an ailing mother, an ill wife and his position as a literature professor. He is disturbed by change, including a raid on the universities library, which is ransacked for its literary treasures which are then burnt in full view of students. He has written a novel which explores his personal circumstances advocating compassionate euthanasia. When the book is unexpectedly enlisted by powerful political figures in support of government propaganda, Halder finds his career rising in an optimistic current of nationalism and prosperity. Yet with Halder’s change in fortune, his seemingly inconsequential decisions potentially jeopardize the people in his life with devastating effects, including his long-standing friendship with a Jew named Maurice. The realization of his actions comes too late. |
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Viggo Mortensen Jason Isaacs Jodie Whittaker Steven Mackintosh Mark Strong Gemma Jones Anastasia Hille Ruth Gemmell Ralph Riach Steven Elder Kevin Doyle David de Keyser Guy Henry Adrian Schille Rick Warden Charlie Condou Tallulah Boote-Bond Benedict Segal Kelly Wenham Declan Hannigan Anna Mária Cseh Paul M Brennan Matt Devere Mike Kelly Attila Szatmari Peter Linka László Görög |
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John Halder Maurice Anne Freddie Bouhler Mother Helen Elizabeth Brunau Eichmann Commandant Mandelstam Doctor Goebbels Brownshirt Bekemeier Lotte Erich Pretty Secretary Handsome Doctor (Movie Studio) Beautiful Woman (Movie Studio) Clerk SS Motorcycle Courier Party Guest Policeman PSS Officer Neighbor |