Review: “Great Freedom” paints a haunting portrait of an imprisoned gay man
After a brief prologue in 1968, the film backtracks to the end of World War II, as Hans is being remanded into civilian custody from a work camp. The story, by Austrian writer-director Sebastian Meise , then hops around in time between the 1940s, 1950s and 1960s, with the only initial clues as to chronology coming from the protagonist’s hair, sideburns and mustache.
Being cast out by society is all that Hans — a recidivist if ever there was one — seems to have known. We learn little about his life outside of confinement; he mentions, enigmatically, at one point that his life before consisted of doing “this and that.” At another point, Hans is incarcerated with a man who was picked up in a public toilet for having sex with him. Years later, he’s shown living in jail with a lover he once shared an apartment with outside.
Throughout it all, Hans is indomitable. But this is no saga of endurance. Rather, “Great Freedom” paints a psychological portrait of someone who has been down so long it looks like up to him.
It’s tempting to say that there’s a kind of admirable resolve to Hans’s embrace of adversity. But his predicament is also devastating. Hans’s condition isn’t really being “easy” in a harness at all. Rather, he is a man who has been so deformed and twisted by a society that reviles him that he can only stand up tall when he has been cast out of it.At the Angelika Film Center Mosaic. Contains coarse language, nudity, sex, drug use, smoking, mature thematic elements and brief violence.
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