The movie version of The Tin Drum directed by Volker Schlöndorff -twenty years later after the novel by Günter Grass (1959) - ends as it begins, with a tribute to the importance of responsibility examined through the eyes of Oscar Matzerath (exceptional David Bennent), who never grows up. In reality, Oscar symbolizes every man that keeps going in an uneducated and superficially innocent society, instead of taking the plunge into a responsible political life. Following Oscar’s childish eyes, as Günter Grass has mentioned, Schlöndorff just tells the story on one line. This is the success point of the movie that won both the Palme d’Or and the Academy Award for Best Foreign Language Film of that year, in 1979, whereas its aesthetics partially calls up to German expressionism. Until today The Tin Drum has the power to make us reflect upon the past of Nazi history, indicating we are a sum of multiple perspectives upon our past and present; Grass knows it very well, for his past reconsideration made him choose the road to his present activism, that is, give vent to a strong voice against Nazism, German austerity measures and peoples’ repression. Overall, the sound of the tin drum in the movie is the counter-balance of this annoying social sleep; the tin drum awakes the spectre of memory, the importance of which is priceless so as to attain real endurance and joy.