“A powerful portrait of a man who fought his own private battle against an oppressive system.”

In times of great human suffering, particularly those caused by oppressive regimes, there are heroes who stand against the institution, doing what they can to protect their fellow people under a shared common humanity, motivated by nothing but compassion. If we focus simply on the Holocaust, there are several examples of heroic people who defied the odds (and authority) to either survive terrible conditions or to help others who were prospective victims of this harrowing moment in the past. Names such as Oskar Schindler, Jaap Penraat and Nicholas Winton (amongst others) are all regularly cited as examples of people who used their influence and resourcefulness to help spare the lives of many who would’ve otherwise been sent to their demise in one of the death camps used for this horrendous endeavor. However, one name that is sometimes missing from the conversation is Felix Kersten, a doctor who was hired to help relieve Heinrich Himmler of some physical maladies, which he cured through his “magic hands”. He eventually became the feared politician’s personal physician, a position he took on after being given the ultimatum of working for the regime or being sent to a concentration camp. It is through this circumstance that he claims to have saved thousands of lives by facilitating a meeting between Himmler and a Jewish leader, which led to the release of countless prisoners on the eve of the Allied liberation. It’s a motivational and compelling story – and one that may not be true, if Felix Randau has anything to say about it. This is outlined in I Is Another (Ich ist ein Anderer), his historical recounting of a fictionalized meeting between Hedda, a scrappy young journalist hoping to get her big break, and Kersten, who she meets on a train while he is on his way to Stockholm to receive the Nobel Peace Prize. He in fact did not win it, as this film sets out to demonstrate, following the pair over the course of a lengthy conversation in which they set out to explore – and eventually provoke – their different understandings of the past.

The premise behind I Is Another is so unconventional, it’s surprising that it has taken so long to have a film built specifically around this story. We soon learn the reason is primarily because of potential inconsistencies between whether Kersten’s claims have any merit to them, or if they were fabricated by someone desperate to be seen as being on the right side of history. Randau does not make any attempt to offer a definitive conclusion, allowing the ambiguity surrounding Kersten’s efforts during the war to linger, and leaving much to interpretation. His focus is instead on looking at the more intriguing elements, namely those relating to a man who had intimate access to one of the architects of the most well-known genocide in human history. A man who managed to earn such trust and confidence, while also somehow evading allegations of being complicit. This is a fascinating point and forms the basis for a film that revolves around a seemingly ordinary man presenting his firm belief that he was merely an observer of a brutal regime, challenged by a journalist who does not think that someone can be so close to destructive power and yet remain divorced from any kind of accountability. The general perception is that Kersten witnessed the inner workings of a genocide from the sidelines, which is used to construct a strong character study about the narrow boundary between being an onlooker and an observer, a resonant and timely subject. At the heart of I Is Another stands Claes Bang, who once again explores the inner psychological workings of a complex historical figure; in this case one who is difficult to pin down, made more challenging by the film’s attempts to show different sides of him. Bang is exceptional as always, walking a thin line between charismatic and unsettling, supporting an ambiguous approach to character development that provides interesting context for the thematic conversation that forms the centerpiece of this film.

However, the inherent challenge of building a film on a moral and historical ambiguity is that some elements will struggle to be as effective as they might have been if the film took a more decisive stance. In trying to examine both sides of a complicated historical figure, the film moves between different perspectives on his past, using his own supposed acts of valor as its foundation but also unafraid to suggest that some actions may not have been as he describes them. It’s implied that they could be slightly embellished to make himself seem more important, since a small adjustment like this (especially in a story with only two other participants, making it difficult to prove or disprove) can lead to a fascinating discussion. The film leans towards Kersten being someone who made a difference, even if it does call some of his claims into question and presents him as placid and gentle at first, but always on the verge of eruption, which we see occurring throughout the film. Structurally, the film is slightly less effective, since Randau employs a very conventional approach in telling the story through a framing device, in this case a lengthy conversation between the subject and a journalist, which allows for frequent flashbacks to the events being depicted. These events are gradually called into question as the film goes on, leading to an increasingly intense psychological tug-of-war between these two characters. It manages to be primarily built around conversations without becoming too didactic (which we can credit to the frank, direct tone that shows no interest in overt sentimentality), making some impactful points about the subject. Certain aspects could’ve been fleshed out further, such as giving more context for how Kersten managed to gain so much influence without supposedly being directly involved with the leaders who existed in his orbit. But for the most part I Is Another displays more merits than shortcomings, managing to avoid the same tropes usually associated with traditional historical dramas.

At a glance, I Is Another seems like a relatively conventional, by-the-numbers drama, one of many films that set out to explore different aspects of this particular moment in 20th-century history. However, as the film progresses, we see compelling layers that prevent it from being too derivative. This makes a fundamental difference, even if it may not have the same monumental impact we hoped. The question being asked throughout this film comes down to determining what drives someone to make the choice between good and evil. If we are to believe Kersten’s side of the story (which ultimately has become the more accepted perspective, even if this film tries to emphasize how it is still a matter of debate), it proves that the well-worn adage of “I was just following orders” that often emerges when looking at those who played a part in perpetuating historical atrocities is not an excuse. Someone with intimate access to the people making these decisions still managed to make a difference, saving thousands of lives simply out of pure compassion. It does showcase the importance of arbitration when it comes to changing the course of history. In fact, it is slightly disappointing how little time was actually spent looking at the meeting between Himmler and Norbert Masur, which was facilitated by Kersten and cited as a vital moment in ensuring the release of prisoners. It felt like the film was building to this climactic crescendo, only for it to result in quite a short scene. Small gestures can make an enormous difference, and through looking at a man who carried the staggering weight of the past while also negotiating his own place in history, I Is Another proves to be a well-crafted historical drama about a moment that we are still struggling to reckon with. While some of its attempts to bridge certain ideas can be too vague, the film is nonetheless a powerful portrait of a man who fought his own private battle against an oppressive system, and whose story deserves to be told, even if some of the facts may remain unclear.

(c) Image copyright – Anke Neugebauer, Ostlicht Filmproduktion, Wega Filmproduktion