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Rock Street, San Francisco

He sits like a man stepping through a hearing exam, huge earphones clasped over his ears, his body and face solidified, tuning in for a faraway sound. His name is Gerd Wiesler, and he is a chief in the Stasi, the infamous mystery police of East Germany. The year is, fittingly, 1984, and he is Big Brother, viewing. He sits in an upper room for a long time, after quite a while, keeping an eye on the general population in the level underneath.

The level is involved by a dramatist named Dreyman (Sebastian Koch) and his special lady, the performing artist Christa-Maria Sieland (Martina Gedeck). Wiesler (Ulrich Muehe) first observed Dreyman at the opening of one of his plays, where he was educated by an associate that Dreyman was a profitable man:

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“One of our solitary authors who is perused in the West and is faithful to our administration.”

How would that be able to be? Wiesler ponders. Dreyman is gorgeous, fruitful, with an excellent darling; he should escape with something. Driven by doubt, or maybe by envy or basic interest, Wiesler has Dreyman’s level wired and starts an authority listening in request.

He doesn’t discover a shred of proof that Dreyman is unfaithful. Not even in whispers. Not even in protected implications. Not notwithstanding amid pad talk. The man clearly has faith in the East German adaptation of communism, and the suggestion is that not by any means the Stasi can trust that.

They are searching for difference and subversion in light of the fact that, as it were, they think a man like Dreyman ought to be blameworthy of them. Maybe they don’t trust in East Germany themselves, however have basically played for the triumphant group.

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