Chernobyl

Das ist keine Serie, sondern ein fünfstündiger atemberaubender Film, der alle feiert, die dazu beigetragen haben, dass keine größere ökologische Katastrophe entsteht als die, welche schon passiert ist. Man sieht die einzelnen Etappen nach der Explosion, kann die menschliche Tragödie sowie nationale Katastrophe von mehreren Blickwinkeln beobachten (von den Feuerwehrleuten bis zum Präsidenten Gorbatschow). Das Erschießen von kontaminierten Hunden. Die helfenden Bergmänner und ihren Leiter. Das allmählich entstehende Verständnis und den Respekt zwischen den männlichen Hauptfiguren (der Wissenschaftler Harris und der Politiker Skarsgård). Die sich zersetzenden Körper von bestrahlten in Krankenhäusern. Die schreckliche Haltung vom Chef des KGB und überhaupt die Besetzung und die schauspielerische Auffassung seiner Figur… Im Film gibt es so viele starke Geschichtselemente, dass man es kaum glauben kann. Ein eiskalter, präziser Spiegel von einem schlampigen, lügenhaften und charakterlosen politischen System, auf dem die Sowjetunion ihren "Ruhm“ baute, um dann von innen zu verfaulen. (29.07.2020)

Human memory is set up in such a way that the major events around us are similar for most people; we remember exactly what we were doing that day. I have that with 11 September, 2001, and with Chernobyl. The day it went up, we had beautiful, cloudless, sunny weather and half the town was catching rays by the dam, myself included. A light rain fell in the evening, although according to the forecast it was not supposed to rain. And I believe that it’s not just my imagination, because it’s said by more witnesses, but the next weeks the milk tasted differently, probably the comrades put iodine in it or something. The comrades covered up and covered up, and then when it blew up, what I found terribly funny was that the first mention of the catastrophe was only on the third or fourth page of the newspaper, a little footnote. And about the series: excellent stuff, no-nonsense, heading straight for the chamber, without carrying any unnecessary plot ballast. That’s how it should be. (30.12.2019)

This is an event. The initial puzzlement has a quick half-life, as those disembodied moments eventually stand out more than the tangible pressure. It’s a screenwriting university on how to handle the "based on a true story" license while staying in observation mode. It’s a perfect study of human arrogance, lack of humility, and unwillingness to face the truth. A live broadcast of lies that has been coming to us for over thirty years. With all due respect to all the criticisms, the hype is well deserved. (05.06.2019)

Once again, HBO gave us their absolute best and introduced the viewers to an elaborate adaptation of the most significant nuclear catastrophe to ever happen on Earth. And even though they didn’t cover everything they could have in 5 episodes, they covered everything they needed so they could sell the idea and pass something on at the same time – the repulsiveness of the Soviet regime but also the proof that humanity and heroism exist everywhere. The first two episodes were probably the most important for me, the creators shocked me with the exteriors, which gave me the impression that the crew actually left for Pripyat and filmed theseries about the catastrophe there. The finale is very crucial as well; it shows what the Soviet regime was capable of doing to not only ordinary people but also intellectuals. After all of that, I am not at all surprised that Gorbachev said in the 1990s that Chernobyl was the fatal consequence of the fall of the Soviet Union. What they did there only underscores the whole effect of communism in Russia of the period, where the local “elite” thought they could do whatever they wanted and God in turn showed them that it wasn’t entirely true. Thankfully this didn’t mean the demise of all of us, it was “only” a warning concerning what we are doing wrong in the world. The fact that we are unable to learn our lessonis another matter. However, this is one of the reasons why the series is so important, which is why it is good to see, perceive, and experience it until the very end. The absolute best of this year’s series and in terms of the HBO production, it is the best that could have been created. Precise, accurate, and apt. (11.06.2019)

"Every lie we tell incurs a debt to the truth. Sooner or later that debt is paid." One of those historical events that you think you know about, but you actually don't, even if you have read Alexijevic and watched Zero Hour. Much (if not everything) could be written and praised about Chernobyl: from the procedural focus to the horror styling, the cinematography, the actors' unforced, unintentionally ridiculous "as if Eastern" diction, to the impact on knowledge and emotion. The way the creators combine genres, with education, warnings, subtexts and tributes, is unparalleled in cinema or quality TV. The way… Well, I already mentioned that much could be written and praised, but there is no reason, because the result is an experience that gets under your skin and you just can't get it out of your head. It’s not 5/5, it’s 15,000/3.6. (12.06.2019)

I was going to write the event of the year, but this is the event of the century, because no series or movie has ever gotten more than 97% on FilmBooster, IMDB and similar ratings on Rotten Tomatoes, and the hype is well deserved. In five episodes, HBO serves us in detail the worst man-made disaster of 1986, and the series is a clear proof that the best screenplay is reality itself. The series features plenty of chilling, atmospheric and dense scenes (divers, disposal of infected animals, decomposing bodies in a hospital and self-sacrifice for humanity). Each episode is 100% and in each episode the series focuses on something different, all culminating in a tense trial where I forgot to breathe. The duo of Jared Harris and Stellan Skarsgård steal the show for themselves with their performances, and I really enjoyed the political meetings where the Soviet Union is shown in its true light. A proper piece of filmmaking and probably the most chilling, depressing and uncomfortable spectacle ever. A must see for all and I would make it mandatory at schools. 100% (06.06.2019)

Undeniably quality TV, which is almost impossible to follow with both an emotional and a rational perspective. As the number of episodes increases, the frustration factor is fanned from an enflamed injustice to almost a burning anger over all the cruel wrongs and resulting suffering. Because of this, I can't give it a fifth star on principle, even though the phenomenal Stellan Skarsgård deserves it with every (un)blinking look. (27.08.2019)

The Chernobyl series is considered by many TV series fans and journalists to be the event of the year, and they spare no praise for the work of Craig Mazin as a screenwriter and Johan Renck as a director. I am not going to ride on freely exalted enthusiasm, we have plenty of others for that. I'm not afraid to say that it is an impressive work and above-average spectacle, but that can be expected from HBO and its immense potential, where the dominant role is played by the catastrophe itself, with a great probability. Nevertheless, some aspects of the project seem somewhat schematic, exaggeratedly dramatized, played for effect, and do not correspond to the situation (the fact that I am a professional in the field also plays a role, and details that a layman easily overlooks disturb me). I have a definite opinion about some of the characters. I perceive them differently than how they are served to us by the series creators - see the character of Dyatlov - that guy was indeed an arrogant bastard, but also a fighter, and his defense and arguments were completely different. Although admiration is expressed for how perfectly the series imitates the Soviet reality, in my opinion, it is limited to visually depicting the environment, and I think that poverty and dilapidation are emphasized too much. Nuclear workers were among the privileged elite and Pripyat was a new and glamorous city of the regime. The spirit of the time, the position of the players in the story in the Soviet present, and their awareness of their own possibilities were different. Sometimes, unbelievably naive dialogues can be heard, instructive for today's, let's be openly honest, Western viewers of the series.  "Heartbreaking" sentimental scenes of the "execution" of cute puppies are also filmed for them, which also sounds quite funny to those who know. Do you have any idea how the selection of boars during the threat of swine fever, the reduction of pigeons in cities, or ducks in reservations, or the mass slaughter of herds when suspected of salivation, take place? Some elements are exaggeratedly emphasized, while others, which are much more interesting, are not explored. Generally, I have a feeling that five episodes were too few, and most of the characters with tremendous potential just passed by in the series and the viewer has no chance to develop a proper relationship with them. For me, my overall impression is still 80%, taking into account that I found my own thing in it, and a lot of what bothers me, I attribute to the effort to tailor the project to the taste of the target audience. (03.06.2019)

This captivating dramatization of the Chernobyl nuclear disaster and the de facto fall of the USSR is built primarily on precise acting performances, stark realism and on the logic of its appealing delivery. With any luck, the infallible Jared Harris is on his way to winning an award. The final summary of the events leading up to the explosion is flawless in its delivery. Excellent editing, a compelling visual style and superb work with the sound of dosimeters in important scenes build up maximum suspense. Even though Putin has his complaints, the series Chernobyl tries not to cut too deep into the Soviets and, on a political level, the focus is rather on deflection and half-truths in general. The creators were fair in this respect. The KGB easily could have been the CIA if of the meltdown had been in the US; it's highly probable that everyone would have acted the same way. People are people regardless of any affiliation with a political party and almost everyone wants a promotion. In both the state and corporate machinery, the results are the most important thing and security is just a word to people who are unable to comprehend it, and yet they try to climb to the top of the food chain. So the exceptional heroism doesn’t represent a fight against ideology, but against incompetent people with dangerous powers. Of course, it also answers the question of why it all happened, and the answer isn’t surprising at all. They cost less. (08.06.2019)

Ich würde mich noch mehr freuen, wenn die Serie mit weniger prominenten Stars besetzt werden könnte. Schließlich ist Stellan Skarsgård bereits unverwechselbar, Emily Watsons Gesicht lässt auch schon im Voraus erahnen, welche Art von Heldin ihre Kernphysikerin sein wird (ob positiv oder negativ) und Barry Keoghan beispielsweise hat noch nie etwas Normales gedreht, so dass seine Anwesenheit allein schon bestimmte Assoziationen hervorruft. Ich würde diese Kritik mit einigen offensichtlichen Drehbuchhilfsmitteln ergänzen, die Rekrutierung der Bergleute schien einem klassischen Western zu entstammen, und einige andere Szenen waren sehr stark an die amerikanische Lebensart und ihr Verständnis von Recht und Moral angelehnt. Aber das sind alles Kleinigkeiten, die ein ansonsten ausgezeichnetes Ganzes nicht gefährden können. Ich selbst gehöre zur Tschernobyl-Generation, und die vagen Nachrichten über das Geschehen begleiteten meine gesamte Kindheit. Daher begrüße ich die Gelegenheit, fünf Episoden einer HBO-Produktion zu erleben, die sich mit der Rekonstruktion der Ereignisse und der Geschichten der Menschen unmittelbar nach der Katastrophe befasst. Mir gefällt die Idee, einige Schlüsselereignisse in der ersten Folge nur anzudeuten und sie erst in der aufwändigen abschließenden Folge zu erklären. Ich schätze auch die individuelle Geschichte der Feuerwehrfrau, die die ganze Tragödie miterlebt, aber vor allem auch überlebt hat. Und obwohl ich gehofft hatte, dass diese unerschrockene Kernphysikerin keine Fiktion ist, ist mir andererseits klar, dass ein solches Wissen und ein solcher Mut im wirklichen Leben nicht von einer einzigen Person stammen. Chernobyl ist ein wichtiges Ereignis, und wenn die russische Seite mit ihrer eigenen Version aufwartet, werde ich dabei sein. (14.06.2019)

A perfect "based on a true story" blend of raw reality, Soviet feeling, perfect cast, and exemplary work with suspense and script. It's certainly not something to revisit and look for alternative paths and subtle script twists, like Game of Thrones, but the ambitions here are completely different: to remember, never to forget, never to repeat; and they managed that to absolute perfection. Although some moments are glossed over, they are outweighed by the urgency and narrative value of a deadly catastrophe in the history of mankind. On par with Schindler’s List. (20.06.2019)

Fünf kalte, grässliche, schauerliche, trostlose, hilflose und hoffnungslose Stunden voller Verderben und Angst und vor allem voller Rücksichtlosigkeit und ständiger unglaublicher Lügen. Ich weiß nicht, ob ich jemals etwas Ähnliches gesehen habe, wovon mir so unglaublich schlecht gewesen ist, was aber gleichzeitig so fesselnd war. Eine echte Faszination vom Schrecken. Wenn der Mensch bloß eine Lehre daraus ziehen würde… (17.06.2019)

Gelegentliche faktografische Abweichungen und Vereinfachungen sind in dieser Geschichte überhaupt nicht wichtig. Das Wichtigste ist, dass es den Machern gelungen ist, den Geist der Zeit zu erwecken, eine objektive Anklage gegen die gelogenen Ideologien durch die Charaktere zu schaffen und zu zeigen, wie weit das Spiel mit den Naturkräften gehen kann, wenn die Notwendigkeit der Planerfüllung hinzukommt - all das in einer ausdrücklich naturalistischen und schonungslosen Form. Von der ersten Folge an unangenehme und dennoch unglaublich beeindruckende Sichtweise, unterstützt von großartigen schauspielerischen Leistungen (Jared Harris und Stellan Skarsgård sind ausgezeichnet, aber vielleicht hat mich vor allem der phänomenale Paul Ritter beeindruckt, der genau den Menschen verkörpert, der ein Produkt dieses Regimes ist). Ich muss sagen, dass der letzten Folge mit der Rekonstruktion des kritischen Tests mir erst den finalen Schlag versetzt hat - mit dem Wissen um seine Konsequenzen hatte ich die ganze Zeit eine Gänsehaut. Die Macher haben einfach eine absolut großartige Handlungskonstruktion gewählt, deren Anfang überwältigt, die Mitte erschreckt und das Ende zermürbt einen. Hochwertige und konsequente filmische Arbeit. (04.06.2019)

Chernobyl bietet atemberaubende fünf Stunden, in denen man mehr als drei Jahrzehnte in die Vergangenheit zurückreist, um durch eine authentische und äußerst rohe Darstellung zu erfahren, was dem schwersten Unfall in der Geschichte der Kernkraft vorausging und folgte. Obwohl Legasows Schicksal schon in den ersten Minuten enthüllt wird, ist es den Filmemachern gelungen, mich bis zum Schluss zu fesseln, da die Geschichte nicht linear erzählt wird. In den Ruinen des zerstörten Kraftwerks und seiner Umgebung findet zu den Klängen von quälender, metallisch klingender Musik (die an die Explosion selbst erinnert) ein doppelter Kampf statt - um das Leben und um die Wahrheit. Umso trauriger ist es für den Menschen, den Tod und die Lüge triumphieren zu sehen. Die Beurteilung der Verantwortung der verschiedenen Akteure und die Klärung der Frage, was tatsächlich zur Havarie geführt hat, war sicher nicht einfach und einseitig klar, aber die Serie bietet ein wirklich realistisches Bild des Geschehens, egal wie sehr sie von der Realität abweicht oder sich an sie hält. Ich lobe, dass sich die Filmemacher sich nicht nur auf die Untersuchung des Unglücks und die Ermittler konzentriert haben, sondern auch einen Einblick in das Leben der von der Katastrophe betroffenen Menschen gewährten, um dem Film damit einen breiteren und objektiveren Rahmen zu geben. Das Hauptdarsteller-Trio - Harris, Skarsgård und Watson -, aber auch die Nebendarsteller haben ihre Rollen perfekt gespielt. Die stärksten, unangenehmsten und erschreckendsten Szenen der gesamten Miniserie sind definitiv die Sequenzen aus dem Krankenhaus mit den Verbrannten, die Tötung von Tieren in der Umgebung und natürlich der abschließende Prozess. So zwiespältig der Blick auf den berüchtigten Absturz auch sein mag, die Miniserie ist eindeutig ein sehr hochwertiges und handwerkliches gutes Stück, das die Aufmerksamkeit des Zuschauers ohne Frage verdient. (22.07.2019)

The first two episodes are utter manna and you can’t help but admire how the filmmakers manage not to get tangled up in their own rules of dramatization. From a filmmaker's point of view, the assignment couldn't be more challenging – the deadly enemy is invisible and inconspicuous, the characters are multitudinous, they come and go, they have different functions, the scientific background of the event, so necessary to decipher it, is not easy. Yet the first two episodes consistently evoke a sense of desperate and inescapable unease, to the extent that I watched them with a filtration mask, and even then I could taste the asbestos on my palate. How did they do it? For example, by the fact that initially the scenes contained almost no spatial establishing shots at all to allow for orientation. This built up a sense of elusive chaos and danger that engulfed even the otherwise knowledgeable employees of the plant, and more importantly, the width of the frame could be gradually expanded as the characters' awareness of the scale of the disaster slowly grew. These moments, set in the dimly lit corridors with shattered windows and crumpled steel walls, are the strongest parts of the entire series. The series then reserves large sets with many extras and panoramic views for the iconic sequences that usually end the scenes. The chaotic, desperate, and utterly incompetent damage management of the first two seasons then makes for an excellent way to build the illusion of the Soviet Union as the most forgotten, saddest, and greyest place on earth, where nothing makes sense and the sun never shines again. The problems start from the third episode, where, quite surprisingly compared to the previous one, one-dimensional filmmaking shortcuts, clichés, and pandering suddenly start to appear, clearly identifying the target audience. I can still bear it when two nuclear scientists talk about how nuclear fusion works, but a bunch of miners are written like some dwarves from the Iron Mountains, an endless scene of Western-oriented game shooting, and heroism in the face of a horrific regime in its finest hour bring the whole built-up admiration for the previous one back down to earth. If I'm going to base my series on a quest for truth, I'd better be damn careful about copyright licensing. And compressing two dozen scientists into one character, who also becomes the catalyst for the plot from the third season onwards just to make the series include a female character, is hypocrisy and a disservice to those men and women from the staff. As much as I understand that if it weren't for these dramatic changes, the series might not have been as successful, and there wouldn't be more apple phones per square kilometer in Pripyat now than in Tokyo. (16.07.2019)

I often approach highly-rated films and series with caution because it’s happened to me more than once that my opinion completely differed from the majority. With Chernobyl, all my concerns quickly went away. Craig Mazin did an excellent job with the screenplay, the series was imbued with a fantastic atmosphere from start to finish, there was surprisingly little melodrama and an excellent cast as a bonus. Plus, the authors managed to make me remember the total brainwash by the media and school. The propaganda at the time must have broken all records for downplaying the actual events. (18.08.2019)