We are far enough removed from World War II that the line between legend and historical fact has blurred profoundly. Amongst the details lost to legend is the following anecdote: In 1943, Hitler ordered that there be food tasters for his weekly menus because the Führer was deeply concerned that people were determined to assassinate him. To foil that, legend has it the S.S. assembled a group of food tasters found in the village closest to Hitler’s bunker. The Tasters, based on the novel by Rosella Postorini, seeks to tell that historical footnote in deeply suspenseful detail. I will tell you at the outset, gentle reader, that co-writer/director Silvio Soldini has made a wonderful film adaptation of Postorini’s legend.
It’s 1943, Berlin is all but depleted of its food, and starvation in urban Germany is rampant. It’s under this dire stake that Rosa Sauer (Elisa Schlott) is sent by her husband, Gregor – whom we never see – to live with his mother, Herta (Esther Gemsch), and Joseph (an uncredited Max von Sydow). Soon after arriving in their northeastern village, Rosa learns a deep, dark secret: in the woods beyond the village, the Führer has established his secret headquarters. Upon learning this, Rosa is whisked away by German soldiers because she and six other women will be serving as the taste testers for Hitler. As the cook (Boris Aljinovic) relates, even in the securest environment, poison and contamination might still occur.
For the next few years, Rosa, Elfriede (Alma Hasun), Leni (Emma Falck), and the other ladies are subjected to brutal psychological torment as they realize each meal they taste could quite conceivably be their last. The narrative slowly burns through moments of food trauma, followed by scenes in which the seven women congregate in the courtyard between bouts of taste testing. Stakes become increasingly perilous once Von Stauffenberg’s historic Operation Valkyrie fails, and Hitler is only lightly injured. Pursuant to that failed assassination, the women find themselves forced to reside at the military establishment where the food is prepared.
“In 1943, Hitler ordered that there be food tasters for his weekly menus because the Führer was deeply concerned that people were determined to assassinate him.”
I applaud Soldini’s decision to allow the scenario time to breathe, and for further horrifying events to occur. For example, when Sabine (Kriemhild Hamann) becomes pregnant out of wedlock, a subplot opens to attempt to help her abort the fetus. This is a high crime in Nazi Germany, punishable by death both for the committer of the abortion and the recipient. There is a subplot involving Rosa and a new SS Officer, Albert Ziegler (Max Riemelt), that drives the tension of the second half of The Tasters in morbid directions. Many things are demanded of widows in a time of war. I pray, gentle reader, we in America never learn of such terrifying privations.
Aside from Soldini, the writers involved in crafting this screenplay are Doriana Leondeff, Cristina Comencini, Giulia Calenda, Ilaria Machia, and Lucio Ricca. In a way, adapting Postorini’s novel was a massive undertaking as well. That Soldini shepherded that crafting and the subsequent production with great subtlety and care speaks to his capacities as a filmmaker. There was no overt direction. The acting was beautiful and naturalistic. The production design, costumes, and cinematography transports viewer to WWII Germany.
Silvio Soldini and crew have crafted a magnificent legend with The Tasters. Every aspect is sharp and crisp, much like a fine piece of apple strudel. The women at the core of this tale all act wonderfully well. If you like World War II movies, then this is essential viewing, along with Jojo Rabbit and Valkyrie, amongst other worthy titles. I strongly encourage anyone interested to seek it out, as the movie is a triumph. This is among the best Nazi War films I have been fortunate to witness.
"…a triumph."
