The story begins with the arrest of Hilde Coppi, a member of the resistance network known as the “Red Chapel.” She is apprehended while executing a rather mundane task of picking strawberries. Apprehension seizes her but she maintains a calm demeanor as she follows the men who had just trespassed on her property in Tegel, where she resides with her husband, Hans Coppi.
The dramatic scene of her arrest is notably devoid of any theatrical elements often associated with similar instances in the historical dramas set in the National Socialist era. There are no Gestapo leather coats, no desperate attempts to escape, no screaming or dramatic outbursts. The director, in this case, has decided to minimize the sensational aspects of the arrest, focusing instead on the raw reality of the situation.
The film by Andreas Dresens, titled “In Love, Your Hilde,” portrays the beginning of a tragic end for the Coppi couple, who were integral members of the resistance network. Their actions, like posting posters against the anti-Soviet propaganda show “The Soviet Paradise”, intercepting and forwarding soldiers’ messages on “Radio Moscow”, and handling radio and Morse code operations seem to unfold effortlessly, almost as if in passing.
The story is told through flashbacks, beginning from the time of Hilde Coppi’s confinement in the Barnimstrasse women’s prison in September 1942. The narrative does not focus on political activism or anti-dictatorial liberation struggles, but rather on the ordinary aspects of life – camping, swimming, riding a moped, sleeping, conceiving a child. The subversive acts of resistance that Hilde initially undertakes for her husband, and later on her own accord, are devoid of any cinematic elements of heroic pathos and suspense.
Rabiye Kurnaz against George Bush
When compared to Andreas Dresen’s last Berlinale film, the David vs. Goliath story “Rabiye Kurnaz vs. George W. Bush,” the current project seems more purist in its approach. This includes the portrayal of the public figure Alexander Scheer, who plays the role of the Plötzensee prison priest Harald Poelchau, the person to whom Hilde Coppi dictates her farewell letter, ending with “With love, your Hilde,” prior to her execution.
The film displays Hilde’s calm demeanor, subtly suggesting how her personality might have influenced those around her. This, however, does not undermine the brutality of the Nazis’ extermination plan against their political adversaries. Despite depicting human emotions in the prison guard Kühn (played by Lisa Wagner) and allowing Gestapo officers to serve liver sausage sandwiches, Dresen effectively maintains the inhumane nature of the system.
The film “In Love, Your Hilde” or rather the character of Hilde Coppi is not about a sophisticated political agenda but is rooted in moral decency and resistance. This approach, although it detracts from the compelling nature of the historical drama, provides a nuanced character portrayal. Actress Liv Lisa Fries embodies a resilient and caring Hilde Coppi, who, under the immense pressure of imprisonment, gives birth to her son Hans and takes care of fellow inmates in the prison infirmary.
What sets this drama apart is not only its tonality but also its grainy look, masterfully crafted by cinematographer Judith Kaufmann. The visual narrative juxtaposes the bright summer days with the cold, blue-gray ambiance of the prison cell. The European widescreen format, rarely used today, adds a unique touch to the film and resonates with the aesthetics of the New German Film.
However, one could argue that Dresen’s and his screenwriter Laila Stieler’s approach of focusing solely on the subjective portrait of Hilde Coppi and her emotional state ultimately leaves the audience with little knowledge about the historical figure herself. The clandestine meetings between friends and their assistance in Hans Coppi’s resistance work are only briefly touched upon in the flashbacks. Thankfully, recent documentaries have shed light on the “Red Orchestra,” which was unjustly dismissed as a Soviet espionage force during the National Socialist era.
The film serves as a stark reminder that even under a totalitarian regime like National Socialism, the preservation of personal integrity and adherence to one’s convictions are paramount. Hilde Coppi embodies a life lived right, without any fuss or drama. When asked at her trial before the Reich Court Martial why she did not turn in her husband, she simply replied, “Because I love my husband.” On August 5, 1943, 13 women were executed by guillotine in Berlin-Plötzensee within a span of 35 minutes. Hilde Coppi was one of them.
