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1984, East Berlin. 100,000 East German Secret Police. 200,000 informers. In a society where more than one third of the population is evidenced by surveillance, individuals are forced to choose: to betray or to silence. A key authorities Gerd Wiesler (Ulrich Mühe) and a successful playwright Georg Dreyman (Sebastian Koch) in The Lives of Others really are no exception. At first, they seem to be securing a business stand. Upon Jerska (Volkmar Kleinert) departure, however, they begin questioning their stances. The movie unfolds as both main characters become alike. Hneckel von Donnersmarck's utilization of exceptional mise-en-scene and sound--particularly the musical leitmotifs--powerfully persuades the audiences that the pursuit of goodness alone could bind two seemingly distinct human beings. The manager attempts to give the viewers the most sensible and objective portrayal of the lives of 2 men in GDR through goal depth and broad range of narration. The viewers rarely see anybody's point-of-view shots since Donnersmarck desires us to comprehend every moment as it is, without any distortion. Even when Wiesler imagines the few reunion as he reads the accounts, the spectacle itself unfolds in objective thickness, de-emphasizing its subjective value. Additionally, we easily notice the dissimilarity between Wiesler and Dreyman through the camera which thoroughly observes their lifestyles. The audience understands how Wiesler gradually starts to sympathize with Dreyman, who's completely unaware of his informant before the very end. We view the most, thereby recognizing the way the two separate lives begin to mingle. Donnersmack sets Wiesler and Dreyman at an obviously contrasting mise-en-scene to deliver his message using a larger effect. They are different from possibly every sin...