Das Mädchen und der Mörder - Die Ermordung Trotzkis

Trotzkis Monologe über die Politik haben mich nicht interessiert, so wie jegliche Politik in Filmen und woanders. Die Gestaltung des Films ist aber auf einem hohen Niveau – nicht überwältigend, eher minimalistisch und mit einem Kammercharakter, einer vorbildlichen Komposition der Aufnahmen und hochwertigen Schauspielleistungen. Der Kern des Films ist die psychologische Untersuchung der tragischen Kollision von zwei sehr unterschiedlichen ideologischen Welten. Man sollte keine Filmunterhaltung erwarten, es geht um ein kaltes und ernstes Erlebnis mit einem düsteren und rohen Höhepunkt; es ist kein Blockbuster. Mindestens zwei Szenen werden Sie bestimmt nicht vergessen (die Tötung vom Stier in der Arena + den Mord). (05.03.2010)

Sensational performances by two great actors in a very slow but certainly not boring or uninteresting film with an unprecedentedly dramatic finale. Brrr! I appreciate historical accuracy. (05.04.2015)

I knew about the events surrounding Trotsky's murder from historical literature, so I couldn't consider the film to be a thriller, because it either didn't surprise me at all or differed in many details from what I perceived as historical reality. The producer thought that it would be good enough to take the attractive topic of the murder of an icon of the radical left and bring three big movie stars into the team, and that success would somehow come automatically. Except for the introduction, which captures the colorful May Day parade through the streets of Mexico City, I was mostly bored and the film couldn't captivate me. Romy Schneider is unnecessary in the film, as she was simply cast as the female counterpart to the two male stars. Richard Burton, although potentially interesting as Trotsky, is mostly prescribed to just sit and utter long-winded monologues, leaving only Alain Delon as the NKVD agent, which is too little. If the film could have partially transferred the plot to Moscow and shown Stalin and the backstage decision-making about Trotsky's liquidation, it would have been more interesting to me. It's surprising how the screenwriter and director managed to kill the cinematically interesting first assassination attempt on Trotsky, which is practically shown in the film as a theatrical farce. In reality, hundreds of shots were fired and the house was riddled with bullets. I can imagine a few minutes of suspenseful scenes that would keep the audience on the edge of their seats, but the actual outcome is rather awkward. Overall impression of a film lacking tension and emotional depth: 45%. (26.10.2008)