International Film - Michael - Kidnapping and Pedophilia on the Big Screen

     Written and directed by Markus Schleinzer, Michael is a disturbing drama about a pedophile who has kidnapped ten year old Wolfgang, played by David Rauchenberger, and is holding him as a sex slave. Michael Krall, the protagonist, played by Michael Fueth, has fortified and sound proofed his home, located in a middle class community in Austria, so that the boy, without risk of escaping, is able to leave his room in the basement and go into other areas of the house. To maintain emotional control, Michael feeds the boy the usual propaganda about his family not loving or wanting him anymore.

     Krall does not allow anyone to come to his, and for five months, managaes to keep up the facade at work, and with his family and associates, and even earns a promotion at work. As Wolfgang's contempt for his captor heightens, the story draws to a climax when the boy contrives a daring escape by throwing boiling hot water in Michael's face. However, he is unsuccessful in his effort, and after a struggle, Michael forces him back into the basement.

     Not wanting to call an ambulance to his home, Michael sets out to drive himself to the hospitl. He is killed in a car accident when he veers off a winding road because he has difficulty seeing and navigating the vehicle as a result of damage to his eyes caused by the hot water. The film reaches the denouement with the family having Michaels funeral, going through a brief period of mourning, and finally going to his home to pack his belongings. Michael's brother-in-law (Victor Tremmel) is sorting through clothing in the bedroom while his mother (Christine Kain) inspects other areas of the home. The film ends with her investigating the control planel that opens the door to the basement in which the boy is locked.

     The story, told primarily from the perspective of the pedophile, reveals the bazaar inner workings of a mind that compels the abuser to seek the affection of the victim, and is then frustrated to the point of tears by the constant rejection. There is no overt violence or explicit sexuality in the film, and the plot develops in a manner that clearly establishes a relationship between Michael and Wolfgang before it is revealed that the child is a kidnap and sexual abuse victim.

     From a technical standpoint, the film, which debuted af the Cannes Film Festival and is scheduled for international relelase in November 2011, adheres to a well-developed three-act structure that is easy to follow. Action is subtle and nuanced, but purposeful. Characters, storyline, and dialogue are engaging and convincing. The setting includes various areas of Michael's home, his job, and various activities in which he engages. There are no particular gimmicks, novel uses of technology, special effects, or spectacular cinematographic images. It is simply a well-told story that evokes intense emotion in viewers and sheds light on an issue that continues to plague humankind.

     Michael is clearly a tale seized from current news stories about the horrific experiences of missing and exploited children. A prime example is the recently exposed ordeal of Jaycee Lee Dugard, the young female victim stolen at age 11, and held captive for 18 years by her kidnappers, a married couple. She was forced into a sexual relationship with her captor and gave birth to two children before she finally escaped. The film, Michael, and Dugard's situation bring to the forefront, the issue of pedophilia and exploited children, and perhaps will compel viewers to save a child's life.

     For information or to report cases of children who are possible victims of exploitation, abuse or kidnapping, contact the National Center for Missing and Exploited Children at http://www.missingkid.com/.
Call the 24-hour hotline at 1-800-the Lost (1-800-843-5678).