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It's easy to hallucinate that it's actually a hot gal who's all over you. But really, you most likely feel the same, given that you've been in the slammer for way too long. It's horrible, and that's too easy to see given how these prisoners see that particular opening as a chance to get in your ass. And since you're in a position where you're already bent over backward, it would be a breeze for them to just jump right in and use their dick to enter your butthole, regardless if you're dry or wet down there. With all that in mind, why is the seemingly innocent bar of soap the weapon of choice for these lusty prisoners? Well, if you think about it, what would you normally do when you drop a bar of soap? Easy! You'll immediately pick it up, right? Well, picking it up would leave yourself open to sexual predators who are just waiting for a chance to pounce on someone else's ass. They just have to look the other way as they plow that poor guy's ass deep and hard, thinking that it's actually a woman's vagina instead. And that means they're already desperate enough to settle for another guy's ass instead. Even if some of them are straight, the fact that they haven't had the chance to touch a woman's body in like forever, they would rather settle for anything that resembles a clean, shaved vagina. With dozens of other guys taking a bath in the same room, at the same time as you, there's no saying what's on the minds of those sex-depraved convicts. In the 60s, Hans has a prison moment with Leo (Anton von Lucke), the young teacher arrested with him in the toilet, and for whom Hans makes a self-sacrificial gesture to secure his freedom.In prison, it's already common knowledge not to let yourself be a victim of picking up soap in the bathroom. But we do know that he had a love affair with Oskar (Thomas Prenn) who is in prison with him in the 1950s. We don’t know about his family or whatever jobs he’s been (briefly) doing. Throughout the film, his civilian existence – his non-prison life – is mostly a mystery. Hans had been sent to the concentration camps in wartime and in 1945 finds himself back in prison with his number tattooed on his arm.
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Great Freedom is a formidably intelligent and well-acted prison movie and also a love story – or perhaps a paradoxically platonic bromance, stretching from the end of the second world war to the moon landing. Perhaps he sees their resemblance to prison, whose interiors themselves resemble the public lavatories where Hans broke the law, that prison to which lifer Hans had an institutionalised loyalty, part of the lost generations of gay men whose entire lives were pointlessly consumed.
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Hans, recently out of jail for this crime, wanders the subterranean sex-filled corridors with an unfathomable smile. It is 1969, just after the West German government has decriminalised gay sex. It is visited by Hans, to whom 36-year-old German actor Franz Rogowski brings his typically intense, coiled and opaque personality. G rosse Freiheit (Great Freedom) is the name of the Fassbinder-ish gay bar in this film with a dungeon-style sex club beneath: director and co-writer Sebastian Meise leaves it to us to gauge the exact level of irony in his title.