
InL’étatetmoi,MaxLinzinventsacomposernamedHansList,whofoughtonthebarricadesoftheParisCommunein1871andnowwakesuptoanewlifeinthepresent,movingthroughBerlin-Mittesanspapiers.Hiscomposition“LesMisérables“isbeingrehearsedattheStateOpera,whichheappearsinincognitoasanextra.SophieRoisplaystworolesinthefilm,thatofListandthatofhisnemesis,judgePraetorius-Camusot.Completingtheensembleareanawkwardlegalintern,agrumpymuseumguard(theinimitableKerstinGrassmann),andtwoauthoritarianpersonalities.<br/> Linzworkswithpunsonnamesandwordplay.Heenjoysslapstickaswellasbreaksinstyleandmistakenidentities,withapenchantforchainsofunlikelycoincidenceandpullingoutallthestops,employingthecrudercomedicregisterstoo.Butbeneathallthescreen-fillingnonsense,thingsgetserious:howareclassissuesandculturalproductionconnected?Whatistobemadeofsoftpowerculturaldiplomacy?AndtowhattraditiondothepoliceandthejudiciarybelonginGermany?Thefilmdealswithallthisandmore.AsSophieRoissingstenderly:“Imayhavefailed,butredwon’tbederailed.”

