He’s never less than riveting, expertly tethering his character in place even as his mind gradually begins to lose its moorings in an existence where days, weeks and months have merged into clouded uncertainty. Masucci, who appears in every scene, potently conveys a multitude of unspoken emotions with his remarkably expressive face, both in his solitary hotel confinement and (ostensibly) later, on board that ship en route to America, where he finds himself outmaneuvering a world chess champion (also played by Schuch). Realizing that there’s no guarantee his life will be spared once he gives up that information, Bartok embarks on a cagey game of cat and mouse with Böhm as he continues to be held prisoner in a claustrophobic hotel room where a smuggled book of annotated chess moves serves as his only connection to the outside world.
Separated from his wife, he’s arrested and brought to the Hotel Metropol, commandeered as Gestapo headquarters, where the quietly calculating Böhm (Albrecht Schuch) expects Bartok to provide him with the account access codes belonging to his aristocratic clients in exchange for his freedom. Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the CDC and local health officials.īut Bartok’s world as he knows it very quickly comes to an abrupt end, with German troops marching into Austria just as he and Anna plan to set sail for America. The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic.
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