Hanna is somewhat coarse and aloof and a bit edgy. “I didn’t think I was good at anything,” Michael replies, permitting us to see his sense of inferiority and why he prefers Hanna to family and peers. “Reading!” she replies as she splashes him with bathwater. Some bathtub talk, for example: Hanna says, “You’re good at it, aren’t you?” “Good at what?” he asks. But Hanna is more interested in the reading, Michael in the sex.
The transaction is highly erotic and mutually satisfying, so we don’t analyze the literature sessions and thus consider Michael to be the reader. He is a student, and ostensibly she wants to benefit from his studies. During their trysts, she has him read to her. The two have a sexual affair that lasts for the summer. Hanna sends him to the bath and returns naked, as if they both knew they wanted intimacy. Michael returns and helps her take some sooty coal up to her apartment. We sense that the boy is intrigued by Hanna as a woman. When Michael, who had scarlet fever, recovers, he takes Hanna flowers to thank her. She finds him vomiting and instantly helps him clean up and get home. We flash back to a chance encounter by a woman in her 30s (Hanna) who befriends an ailing teenage boy (Michael, the narrator) in Neustadt, West Germany, in 1958. The Reader is told from the perspective of a middle-aged lawyer who, in 1995, is recalling his life. However, because it contains courtroom drama, the way in which psychology and law collide makes it relevant to forensic professionals. It is not a Holocaust genre film, and we will not be discussing the psychology of postwar Germans. The motion picture, The Reader, based on Bernhard Schlink's book of the same name, 1 treats adaptation to life on several levels. Released in the United States January 9, 2009. A Weinstein Company (U.S.) release of a Mirage Enterprises (U.S.)/Neunte Babelsberg Film (Germany) production. Produced by Donna Gigliotti, Anthony Minghella, Redmond Morris, and Sydney Pollack.
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