By following a peculiar perspective and implementing the madness of the Nazi Regime Epoch while also exploring it at the same time, The Tin Drum turns out to be a darkly comedic and strange film. By never taking itself so seriously and inserting comedic relief through the darkest moments of the film, Schlöndorff managed to transform a failed experimental film into a triumphant narrative about fictitious child who even though we dislike at times and can’t really relate to his case, he appreciate and fall under his charismatic charming narration, we fall under the spell of curiosity, left wondering what this being is, what are his ambitions, inner emotions, what is he capable of. But it isn’t just the audience navigating the film’s strangeness with curiosity that makes the film good, at its core, this oddity works because of its focused direction, witty writing, resounding score, but mainly its performances, especially Bennet’s enthralling performance, a child performance that honestly works for the majority of this film. Then among smaller roles, Thalbach as Maria really stands out, as does Angela Winker who manages to pull of some really weird moments her character goes through. In the end, The Tin Drum is a weird movie, yet do to its dark comedy and performances that hold the movie together, The Tin Drum deserves an 80 out of 100.