Good. Bad. Ugly.

People in the business world, especially Germans, often say that professional presentations should present the good, the bad, and the ugly. In other words, get all of the facts up on the table. Be honest. Be transparent. Be professional.

The Good, the Bad and the Ugly is a 1966 Italian epic spaghetti Western film directed by Sergio Leone and starring Clint Eastwood as “the Good”, Lee Van Cleef as “the Bad”, and Eli Wallach as “the Ugly”. It was an Italian-led production with co-producers in Spain, West Germany, and the United States. Most of the filming took place in Spain.

The film is known for Leone’s use of long shots and close-up cinematography, as well as his distinctive use of violence, tension, and highly stylised gunfights. The plot revolves around three gunslingers competing to find a fortune in a buried cache of Confederate gold amid the violent chaos of the American Civil War (specifically the Battle of Glorieta Pass of the New Mexico Campaign in 1862) while participating in many battles, confrontations, and duels along the way. The film was the third collaboration between Leone and Clint Eastwood, and the second with Lee Van Cleef. (Wikipedia)

“For the first time I understand the Germans”

The history of Germany, as well as the historical consciousness of the German people, continue to impress and attract me. Today, just as strongly as a quarter century ago. You need only to go into a bookstore in Germany. Their books are not only solid, well bound and have great covers. The Germans have a very special relationship to books. There are always many older and newer publications about history, about their history. For those Germans who want to know their history there will never be a shortage of opportunities.

Every city in Germany, large and small, has museums in which history, but not only theirs, is told, is kept alive and relevant. In my early years in Berlin and Bonn I was astounded by how many fascinating and well-made documentary films were shown on German television. There was never a day without at least one in the evening. The German language is worth learning if only to read their books, to visit their museums, and to watch their documentaries. Although not a documentary, but one with the look and feel of one, was Heimat, by Edgar Reitz.

It was the summer of 1992. I watched episode for episode of Heimat. My eyes were glued to the television, my mind racing to understand every word, to pick up on as many nuances as possible. What an opportunity for me to gain insight in Germany of that time period, between the world wars. Time and again I had to turn to my then German wife to get the meaning of this or that word, for the dialogue was in the dialect of that region of Germany, the Hunsrück, along the Moselle River, between Trier and Koblenz. After every episode I was in a kind of trance, reflecting about what I had just taken in.

Then another time. I was in the car. Driving through Bonn. Evening. I turned on the radio. Deutschlandfunk. A book review was being read. It was about the immediate post-war years in then West Germany. The first sentences grabbed my attention. They flowed: complex, clear, rich, full of substance, critical, analytical, yet elegant. That feeling had come back, from when I was a student at Georgetown. History. German History. The history of another people. In another part of the world. And when I read the books by John Lukacs. Trance.

The reader continued. I was captured, drove further, but as if on a soft cloud just a few inches above the road. I think of the many war memorials in Germany. When I walk or ride my bicycle down the hill from the Venusberg in Bonn to the former government quarter on the Rhine, I pass through Kessenich where there is such a memorial.

It’s round, cement, encircling a lovely oak tree. Six pillars about eight feet high. Plenty of space between them to step in and out. The tops of all eight crowned – or held together – by a cement ring providing the tree with space to stretch out its branches. Just below the top each of the eight the face in cement of a German soldier with the iconic German steel helmet from the World War I.

Chiseled into the pillars, from the top to just about the bottom, are the names of the men who died in the two world wars. Six pillars, three sides each. Longs lists. Names. Of men, and boys, from that part of Bonn, from the neighborhood. Yes, boys, many no older than seventeen or eighteen years old. Sad. Especially sad for me, as one of five Magee boys, to read the same last names. Meyer. Schmitz. Leyendecker. Two, three, sometimes four of the same last names. Brothers. Cousins.

Imagine the deep, deep sadness of the mothers and fathers who saw their boys go off to war only to kill and be killed. 1914. 1915. 1916. 1917. 1918. Four long years for an entire continent. Then on the other sides of the pillars. 1939. 1940. 1941. 1942. 1943. 1944. 1945. Many of the same names. The sons and nephews of those fallen between 1914 and 1918. The Germans suffered, too.

“For the first time I understand the Germans.”

McDonald brothers

The Founder (2016). This film tells the story of Ray Kroc and the McDonald brothers. Kroc enters into an agreement with the brothers to franchise their restaurant, maintains constant contact as the business grows, but ultimately finds ways to change the terms and force the original owners out. The movie highlights how agreements can be transactional, with parties reserving the right to alter or exit arrangements when it suits their interests.

Liesbeth and Friedrich

In the series Tannbach (Line of Separation), Liesbeth Erler and her son Friedrich are depicted navigating the aftermath of World War II in a divided Germany. They face intense political and ethical disagreements within their community and families, yet strive to keep personal relationships intact despite ideological divides. The narrative shows characters arguing fiercely about substance—politics, survival, collaboration—but continuing to live and work together as neighbors and family members.

The Edukators

Die fetten Jahre sind vorbei (The Edukators, 2004). This film centers on three young activists who break into wealthy homes to make political statements. The trio often debate and even argue intensely about their ideals, strategies, and personal motivations. Despite heated disagreements, their personal relationships persist, showing how Germans can separate ideological or professional disputes from personal bonds.

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