Terribly Good Terrorism

BAADER MEINHOF Complex, directed by Uli Edel, follows the story of radical left-wing terrorist group the RAF. Built on a tumultuous backdrop of newsreel footage from the Vietnam war and world-wide conflicts, the RAF were determined to end American participation in German politics, and to rid the government of corruption.

Ulrike Meinhof, aptly portrayed by Martina Gedeck, is a disillusioned journalist. Her husband is the editor of an establishment newspaper, and, is unfaithful in their marriage. She deserts him with their children, setting in motion her drift towards leftist politics and activism. The other key members of the RAF, Andreas Baader, (Moritz Bleibtreu), and his merciless girlfriend, Gudrun Ensslin, (Joanna Wokalek), recruit Meinhof as their press secretary. Soon she becomes completely embroiled in their activism. As they are frustrated in their attempts to call attention to the atrocities perpetrated by the Americans, the RAF turn to more extreme measures, finally blowing up the offices of Meinhof’s estranged husband. The original members are jailed, suffering years in solitary confinement and left to slowly go insane as they await trial.

Radicalism begets radicalism, and the violence of the attacks continues to grow despite the incarceration of the original members. The original cause of the group is horribly mutated as they try to give retribution for government action against their activities. They began by trying to show the inhumanity of America’s policies, and in their turn become inhuman themselves, as they turn to terrorism.

Despite being slightly over-long, the film manages to document a large period of time effectively. The use of many different locations emphasises the wider dissent and spread of radicalism, though the audience are left feeling confused on occasion as to where they are and why they are there. This is in itself quite effective, as it sweeps the audience along with that zeal the characters feel. There is no need of explanation for these radicalised students, and so the audience are not gratified with one.

The film is knitted together like a news story, using radio broadcasting and printed articles to introduce new episodes of the history of the RAF. This is particularly effective in keeping the audience on track within the vast time period the film covers. It also highlights Meinhof’s role as the journalist, and brings a constant reminder of what once was, and, now that it is documented in reality, the fact that she can never escape.

The film ends abruptly, reaching no noticeable climax. There is a sense of futility that pervades, and the audience is left feeling unfulfilled. We begin to feel sympathy with these people as we realise how pointless their actions have become in a world characterised by extremism.

The film has caused some controversy with its sympathetic portrayal of the original members. These are not militant terrorists, the audience are made to understand and appreciate their motives, and once these motives are engulfed by militancy and inhumanity, we too feel their sense of loss and regret.