A German stage actor finds unexpected success and mixed blessings in the popularity of his performance in a Faustian play as the Nazis take power in pre-WWII Germany. As his associates and friends flee or are ground under by the Nazi terror, the popularity of his character supersedes his own existence until he finds that his best performance is keeping up appearances for his Nazi patrons.

If you want to win an Oscar, it never hurts to make a film about World War II, and especially if you throw the Holocaust in there. This film does not address the Holocaust, but does focus on a man in a very awkward position during the war -- does he flee or does he stay and accept the new way? Although not intentional (at least, not obviously so),it seems oddly like the story of Emil Jannings.

Everyone knows the story of Faust: a man sells his soul to the Devil in exchange for something. Well, as we learned in the Rolling Stones' song "Sympathy for the Devil", the Prince of Darkness doesn't necessarily appear as a mustachioed red being with a bifurcated tail. In "Mephisto", the Devil appears as an ideology-turned-governmental-system: Nazism. And in this case, the Devil doesn't request your soul, but rather a favor: that you work for it. Such is the fate of actor Heinz Hoefgen (Klaus Maria Brandauer). Hoefgen has felt shame all his life and has often worn white make-up, as if to hide behind it. But the Nazis make him feel powerful, and so he works for them; metaphorically, he sells his soul to them.

"Mephisto" proves not only the mastery of Germany's film industry, but also what a great director Istvan Szabo is (also shown in "Sunshine" and "Being Julia").

It's pre-War Germany. Theater actor Hendrik Hoefgen (Klaus Maria Brandauer) becomes successful playing Faust. The Nazis take a liking to him and the play. Hoefgen starts abandoning his principles to ingratiate himself with the powerful Nazis. He essentially sells his soul to achieve his dreams which is the same as the character Faust.

Klaus Maria Brandauer is a great actor and he always commands the screen. The story is poetic and presents a compelling idea. The static camera style left me a bit cold. At a certain point, I stop caring about Hoefgen. I don't necessarily care about any of the other characters either. I like the concept a lot more than the actual movie.