Adding to the ever growing pile of WWII themed films, Good subtly -yet at times drowsily- preaches the dangers of ignorance and dispassion while in the throes of injustice and evil.     

The film begins in Berlin, 1937, as Hitler’s National Socialism tightens its grip on Germany. John Halder (Viggo Mortensen), a literature professor slightly concerned with the policies of the Nazi party, struggles under the weight of his increasingly flustered personal life. This includes the care of his ill mother (Gemma Jones); the absent mindedness of his aloof wife (Anastasia Hille); and an adulterous relationship with his student (Jodie Whitaker).  

When his “revolutionary” themes concerning euthanasia in a past published fiction novel grabs the attention of Hitler, he is commissioned by the Nazi party to write a paper to back the government’s stance on mercy killings. Blindly goose stepping along with those in power, Halder joins the party in a bid to gain employment and status.  

As the brutality and ugliness of Nazi policy begins to fester, Halder’s conscience finally comes into play, especially when his best friend Morris (Steven Isaacs) is persecuted for being a Jew. Yet by this time the abomination of the Jewish settlements and subsequent holocaust has already begun, leading Halder to question: how could I have been so blind?

This is highlighted in two powerful scenes: the first, with Halder catching his reflection with shocking dismay while wearing a Nazi uniform; and second, a tracking shot through a concentration camp, where a bewildered Halder takes in the horror of the holocaust, which is a direct result of his and the German people’s apathy towards their government.

As such, Good is an astute commentary on the detachment and disillusionment of the majority German citizens of that time, and the continuing ignorance of social issues by many today. Instead of being called Good, what the film should have been titled is Guilt.

Based on the critically acclaimed stage play by C.P. Taylor, director Vicente Amorim’s adaptation adequately glides along, with the occasional emotional outburst pit stop, usually provided by the tense friendship between Morris and Halder.  But while the film does not engross as wholly as it needs to, Mortenson’s arresting screen performance keeps the viewer alert even during the dreariest of occasions.