Abstract
This article delves into the persona of the German reformer Martin Luther (1483–1546) as portrayed in the eponymous German-US production of 2003. The creators, including director Eric Till and screenwriters Camille Thomasson and Bart Gavigan, alongside the stellar cast, aimed to present Luther in his most humanistic light. However, in pursuit of attempting to craft a “man-centric film,” they compromised historical accuracy. Nonetheless, even in this watered-down version, two issues surface: a political struggle (both against Papal Rome and among his peers) and a psychological one, centered on Luther’s autonomous manifestation of auratic evil within his psyche. While a degree of historical authenticity resonates concerning the political power play (between German religious-political Protestantism led by Luther and the Roman Catholic Church under the Pope), the psychological dimension extends to the religious-state realm. Luther, though, is depicted one-dimensionally: as an entirely positive and progressive figure concerned solely with the moral and ideological renewal of the church institution (despite actually acting in the interests of Elector Frederick the Wise); also, there is a complete absence of critical scrutiny regarding certain chauvinistic aspects of Luther’s beliefs in the film. The article authors endeavor to elucidate the validity of the cinematic concept, prompting a critical appraisal of critiques on the film Luther and scholarly works on Luther the reformer’s historical import. This scrutiny exposes the incongruity between the cinematic personalities and their historical counterparts, necessitating an in-depth analysis of the film’s dramaturgy. In conclusion, the authors articulate the presence of evil as a concept in the actions of Luther and his milieu.
Published Version
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