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Viktor, a methodical hit man, probably on his last job, has no plan for his retirement. He does not kill Nina, a woman sleeping beside his latest mark; then he follows her and rescues her ... See full summary »

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Cast

Cast overview, first billed only:
...
Viktor
...
Nina
...
Lang
...
Der junge Polizist
Lisa Martinek ...
Die Ermittlerin
Peter Fitz ...
Martin Hinrich
Wilhelm Manske ...
Der Russe
...
Grundschullehrerin
...
Sicherheitschef des Russen
Murat Yilmaz ...
Killer des Russen
...
Freundin des Russen
Kevin Ruhland ...
Felix
...
Observierer Kamera
Werner Karle Jr. ...
Observierer Ton (as Werner Karle jun.)
Antonio Di Mauro ...
Polizist in Ninas Wohnung (as Antonio Dimauro)
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Storyline

Viktor, a methodical hit man, probably on his last job, has no plan for his retirement. He does not kill Nina, a woman sleeping beside his latest mark; then he follows her and rescues her from an attempted suicide. Nina is attracted to him, but also wants to know who he is. Her pursuit of his identity crosses the investigation of Lang, a brilliant police investigator who tries to inhabit the minds of the victims and the killer. Viktor's employer also wants to kill Viktor and his contact, an aging arms dealer and family friend. Does Viktor have a future? Written by <jhailey@hotmail.com>

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29 April 2004 (Germany)  »

Also Known As:

Soundless  »

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2.35 : 1
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Did You Know?

Trivia

The first school day photo is a real youth photo of Joachim Król. See more »

Soundtracks

Ah! Non Credea Mirarti
Vincenzo Bellini
from the opera "La Sonnambula"
Arranged by Paolo Pessina
Vocals by Margherita Buschi
Violin Nicola Granillo
Double bass Christian Ciaccio
Pianoforte Paolo Pessina
Recorded by La Fabbrica del Suono, Padova, Italy
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User Reviews

 
Sound in mind and soundless in body – the perfect killing machine?
19 September 2007 | by See all my reviews

The anti-hero of this dark and moody thriller is Viktor (Joachim Krol), a professional hit-man – and a very successful one at that. Maybe that's one reason he's called Viktor?

In this story, however, he's just completed a fairly standard hit and is now called upon to perform his finale – his most important hit for his mentor and paymaster, Martin Hinrich (Peter Fitz) – and that's when Viktor's life as a killer starts to unravel. Wouldn't you just know it?

But, it all comes apart in a most unexpected fashion. For example, when was the last time you saw a film where a hit-man saves the same person's life twice? In two days? Well, you guessed it: cherchez la femme! That fairly standard hit wasn't so normal, after all: Viktor was so smitten by the blonde, Nina (Nadja Uhl), in the bedroom of the guy he just popped on the patio that he lets her sleep on, instead of eliminating her as a witness!

Now, that could've been a big mistake, but the writer/director (Mennan Yapo)of this interesting romp turns that to Viktor's advantage after he saves her from drowning the next day: she's so distraught by the death of her one-night stand that she throws herself off a bridge. Viktor, who'd followed her, drags her out and calls for medical help – then fades into the background...

Because he has that final job to do for Martin, so he must leave romance aside until the job's done – or so he thinks. Trouble is, one smart copper, Lang (Christian Berkel) is hot on Viktor's trail. How? Well, he's very smart: he uses deductive logic, forensic evidence and large data banks – and maybe some je ne sais quoi - to hone in on the most likely suspects. Not as well done as Sherlock Holmes, perhaps, but still impressive. And, maybe just a little too easy for narrative purposes.

Meanwhile Viktor stays one step (or maybe two steps) ahead of Lang as he plans his hit on the target Martin wants dead; and it's no easy job, not this time. Compounding the scenario also is Viktor's inability to forget about Nina, whom he visits at her apartment and, well, eventually, the sparks fly as you might expect. He's falling for her, and it seems that Nina shares the feeling, although she still has doubts...

Which she wants to dispel by following Viktor as he leaves her apartment to do the job – the final hit.

What follows then is a very classy and richly ironic action sequence worthy of some of the best thrillers you're likely to see, and no more ridiculous than most. That part alone is worth seeing.

It's well produced, the acting is up to the task – with Krol the consummate taciturn loner, and making Matt Damon as Jason Bourne of the Bourne franchise look positively garrulous – the photography has enough action sequences, from long shot to extreme close-up, to satisfy most, and the music is, well, almost not even there. But, when it is there, you notice it; and it fits.

The film and story are nowhere near the prowess of Luc Besson, the late John Frankenheimer, Martin Scorsese and others. But, hey, all writer/directors start somewhere and this being Yapo's second effort, I'll make sure I see future efforts.


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