since Woody Allen's model Ingmar Bergman homage, his films seemingly irreconcilable opposites unite: you always act of existential things, this package but in such a silly stories that the big questions of humanity sound like the self-talk of a fool. "Life is short, bleak and full of suffering," the male lead character says in Allen's new movie, so what, would be to finish the thought, nor give too much effort? According freely Allen then goes to the point: "Vicky Cristina Barcelona" is an equally hasty as amusing trip to the English cliché with a lot of Gaudi architecture, languid guitar and a sultry Señorita as frosting. Although you get lost in this narrow universe can hardly represents all the audience an amazing intrusive narrator as tour guides. From him we learn that the American friends Vicky and Cristina are as different as night and day: one is always sensible and thoughtful, the other is impulsive, fun-loving and a bit disoriented. One is engaged to a well-off man, the other hops from one bed to another Lotter, one is brunette, the other blond. Together, they spend a Summer in Barcelona and stumble unexpectedly on a local painter, from which he is said to recovering from an equally passionate as unhealthy marriage. Quite bluntly, Juan Antonio invites both a love for the tourists weekend, as the one expected to react indignantly, while the other is instantly in flames. One can almost imagine how it goes: The serious Vicky falls silently to the artist, while the flighty Cristina moved to his hacienda. There still haunts around the divorced wife Maria Elena, Juan Antonio's first only in thought and then, after a failed suicide attempt, even as a person. Apparently the two can not live with each other nor without each other, resulting in beautiful scenes of jealousy, and finally to the realization that Cristina is the missing link that has been missing all these years to ensure lasting happiness. For a short time fulfilled a happy menage a trois and the house is crowned with a love scene between Penelope Cruz and Scarlett Johansson. It's the old story: Woody Allen gets not only all women, he gets them also to do everything for him. The abstruse narrative twists and subplots of "Vicky Cristina Barcelona" can only be hinted at, just like the pleasure of Javier Bardem and Penelope Cruz in her terrific eccentric Roles watch. It is crucial in any case, that after all the hubbub at the end again, everything is the same: Vicky maintains its unsuspecting fiancee, Cristina still know nothing clever to do with himself, and the English pair is to be back driven by frenzied passion for the jugular . Much Ado About Nothing, then, if not all parties had lost their way either certainty or at least their last illusions. The main message of his film does Woody Allen unspoken reason: man is not made for love and happiness even less. Michael Kohler (filmdienst 25/08)
These films I have in November 2008 for the first time Seen on DVD:
For the Unknown Dog 9 see Horton Hears a Who Interview 8 8
The Orphanage 8 Bruges ... And die? 7 and the Butterfly The Diving Bell 7 Schulz and Schulz, 7 meat is my vegetables 6 empties 7 Hotel very welcome six Race for Your Life - From Junkie to Ironman 5 Hancock 5
movie info: http : / / www.imdb.com/title/tt0770183/
Cinema: Mathäser Munich
Trailer:
criticism: The
Faith moves mountains is well known, and religion has nothing to do necessarily. For children the saying is maybe to replace more than for adults who have learned to perceive the world with realistic eyes and everything else or ignore. Children in turn are not trained to clearly distinguish between external reality and their imagination. But so it is also the eight-year Karolin Lenz from Vienna. Karos parents have separated shortly after the first communion of their daughter, after family needs and work requirements could not be reconciled. Karos mother gave birth to the child her career as a musician, while the father has a busy TV host of a contact show for lonely hearts no more time for the family. A Free of his walkie-talkie set is Karo goes after moving with his mother in a new apartment, which lost a device, a lifeline. In her despair at the separation of the parents attempted to take over the remaining device contact with God, who intended to bring together parents. And indeed, after several attempts, logs suddenly a grumpy male voice that seems to come directly for diamonds from the sky. The "God" is behaving strangely indeed, speak in Viennese dialect and used indelicate expressions, but it promises Karo, at least think about how he can help her. Quickly finds out the girl that "God" only lives one floor below and an older tramp and a drunkard with unkempt appearance is. But it takes time for diamonds, playing with her, answered their questions and tries to help her with advice and support. This gives rise to a number of complications and misunderstandings that sets the film with slapstick and stylized dialogue in scene, but also the prohibition of both parents, to meet further with this man. When parents divorce date it initially appears as a diamond would now do without the "Dear God". In her feature film debut the Austrian director Danielle Proskar the difficult issue of separation of parents from all approaches once childlike perspective, without trivializing something that is often experienced by children younger than trauma. Clearly, it conveys the feelings of pain, guilt, helplessness and inner conflict to deal with the diamond has. The idea for the film was the director of an affected child sponsor, the script they developed in the framework of the "Step by step". In Resi Reiner found for the role of diamonds a wonderful actress, who had as a child of a single mother already an idea of what feelings it should convey in the film. Proskars idea presented by the castle-actor Branko Samarovski embodied "Dear God" as a social outsider, is risky and could have ended painfully, but the two main characters are in perfect harmony. The screenplay is also in the dialogues of child language appropriate and not overloaded with subplots. At the same time bridging the gap between existing sense of reality checks very successful over the strange neighbors and their holding to the belief that man is the "Dear God" by the film that possibility is not excluded in principle. First, greater when it comes to the prohibition of parents in their fear, diamonds could be exploited by the man or even abused. This suspicion, the director spoke briefly to him, but then to be invalidated by the new boyfriend of the mother, who watches the two in secret. In this way, encourages the film Diamonds in their judgments and in their feeling for the undisguised and naked truth behind appearances, the adults put on the first special weight. And probably not only separation but he makes children a fun way courage to cope with their problems, precisely because a corny and unrealistic happy ending avoided. Holger Twele (filmdienst 10/2008)
These films I have in October 2008 for the first time on DVD Seen:
The Treasure of the Sierra Madre 9 The black snake 8 Key Largo 8 Save Trigger 8 sister Heart 8 21 7 Junebug 7 More is not 7 a Night 7 We get wonderful ... 7 The Game Plan 6 High Sierra 6 Have and Have Not 6 Indiana Jones and the Kingdom of the Crystal Skull 6 Ossis Eleven 5 Sex and the City - The Movie 5 of the Penguins 3
The film about the bloody terror of the RAF begins with an idyllic setting. In the off roars Janis Joplin, may the Lord her but please buy a Mercedes, while enjoying a carefree people on Sylt summer at nudist beach. Including the columnist of the magazine "concrete", Ulrike Meinhof, with her husband and children. After, she reads at a garden party a written protest of their articles against the visit to Germany by the Shah of Persia - what most of those present to take more with a tired smile to the attention. To a showdown of the film, with the murder Employer of the kidnapped by the RAF president Hanns Martin Schleyer end, we have almost 150 minutes of film, in which several buildings blown up with bombs in the air and lose a lot of people by bullets from the weapons of the terrorists their lives. The film is distinguished by the shooting of Benno Ohnesorg on 2 June 1967 to the "German Autumn" of 1977, the history of the RAF in chronological order, to deliver without any new evidence. What was not expected. After all, at "The Baader Meinhof Complex" primarily to the adaptation of a nonfiction book by Stefan Aust, that's 23 years on the market. The fictional cinema has with past productions such as "The Legend of Rita" (fd 34 450), "The Internal Security" (fd 34 691) or "Baader" (fd 35 624) adequately deals with the protagonists of terror. The "New" of this by Bernd Eichinger and written and produced by Uli Edel staged film is actually in the omission of elements involved in the study of the RAF were regarded as indispensable. Some in the more or less stringent anchoring their leaders and their subsequent actions in the 68s political movement. It is true that here sometimes television archive images of the Vietnam war and student protests gathered from around the world to a kind of compilation, but more context does not exist. Rudi Dutschke think once you see a fiery speech in the university auditorium and later, as he chases a psychopath a few bullets in the head. Otherwise, the student leader, a marginal figure. "APO-wanker", calls him Andreas Baader, who himself comes out of nothing, just there and is adored by Gudrun Ensslin is. Baader is the Anarcho-Dandy and bears ("Not to fool around,") much to radicalize the group that looks like fun but often guerrillas. In one sequence we see him on the highway race and cheer, laughing with a pistol through the side window at night. Even for the few amusing scenes of the film in the first place the man responsible for the Moritz Bleibtreu embodied primarily physical intensity. Whether it is in Jordan's training camp refuses to crawl under barbed wire through the sand ("We need the nonsense not, we are urban guerilla") or coercing in a Roman street cafe RAF lawyer Horst Mahler, to steal a lady's wallet, order to put his criminal expertise demonstrated by Andreas Baader is the womanizer and entertainers of the German terror. In contrast, the ideological ballast lies between the attacks almost exclusively on the shoulders of Ulrike Meinhof and Gudrun Ensslin. Where the film ultimately only Meinhof, played impressively by Martina Cover charge, something like a development allowed. How do they doubt the Baader-liberation after his conviction for the Frankfurt department store arson at the window is and the jump in the (in both senses) surface selected later decides in the Jordanian camp against her two children and after a period as an activist in Stammheim prison is haunted by brooding self-doubt - these are among the most moving moments of the film. While present on the other hand, attacked the state and the Federal Republic as public and not so good, Bruno manages all a wonderful miniature of the former BKA chief Horst Herold. Appears as the top terrorist investigator and philosopher the dragnet as a lonely man, his staff serves up hand-pot, with his conviction that we must deal with the motives of terrorism, if they wanted to fight him, meets with the politicians but on deaf ears. That the template supplier Stefan Aust is here moved several times even with the help of an actor in the picture and may make an interview with Gudrun Ensslin parents, which led, in fact, another journalist, is one of the vain embarrassments of the film. The most compelling sequences are those which one could loosely call action scenes. This applies to the famous use of pyrotechnics in the bombings, but especially for a virtuoso Camera and assembly. The anti-Shah demonstration you think you are right in the thick of things and get a veritable picture of the impact of a water cannon. If at the Schleyer-kidnapping, the terrorists like a madman firing empty their magazines at his companion, which is filmed from close up and in large part from the perspective of the victims, so that you are in the cinema seat himself in their place looks. But virtuoso action on this subject makes a good film. In intent, the myth RAF to disenchant by excessive violence, the film runs the risk of creating a new. From the political and social contexts largely freed the terrorists appear here as a band of outlaws who plundered, Pull chain smoking and killing across the country. Younger viewers who have experienced the time or not dealt with the issue, should it with great fanfare as "definitely RAF-Film" marketed production in any case leave completely clueless. Reinhard Lüke (filmdienst 20/2008)
familiar with the clueless idiots and the cinematic universe, the design of the Coen brothers since the 1980s, usually no quarter. That at the last second turns up a guardian angel (as in "Hudsucker - The Big Jump", fd 30 810) or a biblical flood changed everything (as in "? O Brother, Where Art Thou", fd 34 496), one should better not leave. The Coen brothers are like the Darwinists among U.S. independent filmmakers: the law of the jungle and the crazy coincidences anarchy determine who lands at the end of her films in the chopper and who it is. In "No Country for Old Men" (fd 38 601) they had gone through with the bloodcurdling consequence if Javier Bardem as embodied (death) arbitrarily tossed a coin and thus decided who was allowed to live and who was blown out with the captive bolt pistol light. The grotesque form in which the dying in Coen movies (and the filmmakers is sometimes interpreted as cynicism), has something of the late Middle Ages by a dance of death: macabre, balancing between horror and laughter suggests, a "Wild Life" to which each system of meaning, even the genre films resisted. While prevailed in "No Country for Old Men" the terror dominates "Burn After Reading" again laughing. But even in this intelligence farce is not without a certain "body count" from, but asks a whole bunch of (star-studded) Fate of the fool out of them Malkovich George Clooney as a go-getting ladies' man with paranoid traits, Brad Pitt as a true-hearted, energetic idiot with bleached hair ends and John as a drunken, permanently outraged ex-CIA agent. The latter is the comedy in motion is: Balkan specialist Osbourne Cox is to be condemned because of his alcohol problem to a desk job, which he indignantly acknowledged the CIA service and writes his memoirs. Of course, this controversial material gets into unauthorized hands soon, and of course, bite the inexperienced blackmailer, the Cox want to sell their own information, from her amateur coup more than they can swallow. Since all somehow still have affairs with each other and crossed again a concatenation of unfortunate coincidences, all plans, finally even the CIA director no idea anymore what's going on. In all the crazy clowning and has exaggerated quirks of the characters, "Burn After Reading" in a wonderful Frances McDormand emotional center: She plays Linda, the employees of a health club, which is the CD with Cox's data in their hands. As the barber Ed in "The Man Who Was not There" (fd 35 136) or the car dealer Jerry in "Fargo" (fd 32 223), this is getting on in years single woman a touching little Normalo, was not a fate just spoiled. Also, she grabs the opportunity to come with a small amount of criminal energy to a large sum of money, just decided by the hair, in order thus to pave the way for a supposedly better life - and one would wish the undaunted, strong-willed figure well, against all rules of reason to get away. But like other Coen characters they must also learn that the American path of "Pursuit of Happiness" is just full of pitfalls for small fish - therefore it soon pave the first corpse. Once again, the Coens, the "Burn After Reading" show produced by "No Country for Old Men" relatively quickly have, as she masterfully mastered the formulas of genre films - not least when they defeated them with insolent nonchalance. To describe the wit of the dialogue duels and the absurd situations to which the actors involved with evident pleasure, the English adjective "hilarious" would fit well, in German it makes a hearty "hilarious" at perhaps the best, because it also equal the roughness is covered with the aura of the CIA as a safety and supervisory by the private quirks and obsessions Wolf is rotated. Here the filmmakers look back with irony, but also a shot of affection for their characters, as zealous how naive a bit of luck and wrestle it from the materialistic aspects of the "American Dream" are just as blinded by their own neuroses. In the end you can only hope that the fickle chance but once a decision in favor of the clueless idiot. Felicitas Kleiner (filmdienst 20/2008)
In Scandinavia it in terms of "black humor" like a number and nothing but - allegedly - evil. In recent years, incest, racism, euthanasia and impediments to "platforms" of ethical discourse. Films like "idiot" (FD 33 631) and "Elling" (FD 35 384) or the almost forgotten "Miffo" (fd 36 6809), "The Green Butchers" (fd 36 640) and "Adam's Apples" (fd 37 779) ventured a slightly different perspective on social and ethical conflicts. Now comes with "The Art of Negative Thinking "is a subgenre of the late stragglers, who like a fairly inspired variation of" One Flew Over the Cuckoo excludes Nest "(fd 19 710).
The story is quite simple: The young Invild the waves of self-pity of her paraplegic since an accident husband Geirr sorry. Geirr, early 30s does not realize his destiny as an opportunity, but is mischievous, listen all day long songs by Johnny Cash, I watch war movies and consumed to a joint after another. Surely not a nice fellow! But why after an accident with such consequences, or be a nice fellow? This is not the fellow citizens bothered! But social workers are responsible, such as Tori, which holds a group of very different people with disability due to permanent brain washing in a good mood. The world, her motto is, well, if only they were "right" look. Tori, the propagandist of the art of positive thinking, has set up a group-dynamic regime of terror, was dragged from Geirr successfully in the shortest possible time. Geirr can not even to "the positive" one, but infiltrated the professionally cheerful group of handicapped people, with its nihilistic evil.
This is quite amusing, but not full-filling, which is why director and screenwriter Bard Breien tried to give the disabled supporting cast a little biographical outline. There is Asbjorn, who is paralyzed and mute after a stroke. He will learn in the course of the film talk and walk again. There is the wonderfully learned to live after a climbing accident paralyzed Marte, whose husband Gard with the consequences (s) of a small mistake. The bit of paralysis can affect this relationship is not enlightened, especially since a bad conscience is in play. At least not as long as the disabled people are under the spell of Tori. An evening with Geirr, lots of alcohol, Gruppenkiffen, evil truths that are finally making a once and a little Russian Roulette brings verve to the group until all life lies, pragmatic faith healer land and basic interests are open on the table. Should we even tell you that of course just Tori, the most fundamental problems? Absolutely predictable, the film drags then, staged in a small room like a stage play. Of course it's not just about people with disabilities, but about social ideologies, that restriction should be placed on constant positivity as an attitude in question. For this to work, you have to sometimes just "incorrect" Veteran and look behind the facade of the spa-terrorism. Remains open, however, if not by permanent self-self-on-the-shoulder-tap for their own courage to be eingerannt incorrectness open doors. If you switch the "lower classes Television" one, there must also serve the "enemy image" of the ruling "political correctness" as an alibi of his own misanthropy. Anyone who writes on the radical breaking taboos own flags reveals, at first very much about himself. Do you have to actually go to the movies to understand that physical disability is a genuine suggestion? Ulrich Kriest (filmdienst 19/2008)
Vin Diesel is like a direct descendant of the action heroes of the 1980s: a scarred face, a toned, muscled body, some cool one-liner "on the lips, to the stoic attitude of Arnold Schwarzenegger, but also the agility of a Kurt Russell - and you have that star for the multiple needs of the modern action cinema. An attribute raises diesel still out in particular: his deep, sonorous voice, which contrasted strangely with its soft, something almost childlike facial features, gives it a personal touch, set it apart from the mass of the same form, usually acting as mediocre colleagues differs. The latest attempt by a French director, to imitate in his home country is big Hollywood movies, for diesel, a similar stroke of luck, as it once was "The Fifth Element" (fd 32 718) by Luc Besson Bruce Willis. And director Mathieu Kassovitz 'adaptation of the novel "Babylon Babies" by Maurice G. Dantec is, as once Besson's film, its hero completely in the center of the story. Besson's science fiction blockbuster with lots of gadgets and ideas but in the distant future anchored, is "Babylon AD" much more timely and therefore more realistic: The world is in chaos, devastated by war, terror and anarchy. The war veteran and mercenary Thoorop ekes out a ruled by warlords and mafia bosses Russian state bordering a sad existence between destruction and disillusion. From the Mafiosi Gorsky, with noticeable enthusiasm shown by Gérard Depardieu greasy, he receives the offer, the young and beautiful Aurora to smuggle into the United States. As a reward for the dangerous job Toorop is made for a better future in the States in view. In its strongest moments, the road movie reminiscent of Cuaron's Children of Men "(fd 37 874). Straightforward draw pictures a bleak, post-apocalyptic world, the disillusionment of the characters can be understandable. In this world the hero is weak. Kassovitz has his characters for an action movie of this kind, especially in the quiet scenes of astonishing amount of space to develop and Charakterauslotung. WEAKNESS "Babylon AD" But in the moments of direct confrontation with the risk of: Here, the previously so carefully constructed scenarios given up entirely to the formulas of genre cinema. A good portion of shootouts and spectacular stunts are now even a recipe for success. These formulas must not be automatically bad, but they lose just as much built up in this atmosphere by their nature Piggy-backed to treatments. Unusually well-contoured and strongly are, however, the female roles. Although Mélanie Thierry as Aurora some stereotypical cute, intended for protection-seeking moments - which side in a climax in the profile recorded setting in which the small declines in the moment very childish-looking woman with the head of the mighty breast of her protector - its role through mysterious skills of young women are given is ultimately that of a strong woman. This also applies to their battle-tested companion "sister Rebecca, played by Michelle Yeoh, and a later emerging" high priestess ". The latter is played by Charlotte Rampling, and here at least is clear that a Another attraction of the film, the supporting roles are well occupied. Despite suffering from positive aspects of "Babylon AD" but at the notorious weakness of many action films, because the plot is basically one-dimensional. A hero a woman passed safely through all dangers, alone and yet not alone, (ver) questioned, but is always his man, it is the successful packaging, this film one of the better of his genre can be. Mike Beil (filmdienst 19/2008)
Cinema has been the introduction of "talkies" downright afraid of silence - which is strange for a medium that is building it on the power of images. Apart from art and experimental films from once in the film not only spoke rarely, all too often is too much or explained (if necessary from the off) comments. Silent sequences such as the opening sequence of "2001 - A Space Odyssey" (fd 15 732) remain very reason in mind because the lack of dialogue as irritated as intrigued. It is remarkable that now, on just an animated film from the realm of the mainstream without a word Extreme. For that reason alone we must Pixar's animated "children's film" WALL-E compare in terms of formal radicalism with Kubrick's singular science-fiction epic from the year 1968.
In "WALL-E" there is nothing to say because there are no people. About 700 years ago, the last has left the earth, the polluted, a hostile planet offered no alternative to the giant luxury space ships, which promised a carefree life. There is more chance that is activated on the ground of the flamboyant promotional video on the giant screens, the raves about the eternal holiday, megalomaniac star cruiser. Then there are also the only "human" Words that echo through the abandoned ruins. Otherwise you will only hear Gefiepse, the crunch of metal on stone surfaces, and the tinny sound of an old video cassette of the at least once a day sounds "Put On Your Sunday Clothes". WALL * E is responsible for a small robot with Planierraupenfüßen, the three-fingered grasping hands of an assembly line, and two slaves webcam eyes. In his cubic body can scrap pressed to stackable cubes. He does now for 700 years, which meant that he covered the landscape to learn some metal skyscraper has. WALL-E is sort of a "freak of nature": not only that he is still works where nothing else works, it has also developed something that was not planned by its designers: a kind soul! Therefore indulges WALL-E in the evening his hobbies: his favorite sorting garbage, playing with his house-cockroach named HAL or the sentimental indulgence to said song from the musical "Hello Dolly" (!). Secretly yearns after the little robot, even one holding hands with his peers can - just as in the section on the videotape, which he looks at every night. Then, when one day ends up a giant spaceship to dismiss a small UAV in the landscape waste, his dream might even Fulfillment go. But the high-tech robot named EVA is initially far from keen on relations between robotic. First WALL · It almost tender insistence on hostility gives way to the programmed neural networks EVAs on - just feel the two behave something like friendship. But when Wall-E EVA waste his latest find, a little green thing, shows, takes over command of EVAs actual provision their circuits: backing up and mountains of forms of life.
Up to this moment - almost up to half of the film - you wait in vain for more significant dialogue sentences about "WALL-E!" and "EVA!" went out. Although this no one will miss the contrary. Every sentence is superfluous in this most moving love story since Romeo and Juliet. For all that should be heard anyway, provided by two men: Ben Burtt and Thomas Newman. The 60-year-old sound designer Burtt was among others responsible for ensuring that the light saber in "Star Wars" (fd 20 658) so sounds like it sounds, that Darth Vader breathing so scary and you have regrets when R2-D2 never know that he does not speaks like a man. Burtt also provides in "WALL-E" for, what type of robots when they are alone, which is at least as sensitive as human language. The film is indeed dialoglos, anything but quiet. In place of the spoken word as a means of expression occurs in the case of "WALL-E" the stronger the music. Thomas Newman is from "The Shawshank Redemption" (fd 31 221) on "American Beauty" (fd 34 006) to "The Good German" (fd 38 062) a total of eight times for an Oscar nomination and he will have it for "WALL be * E "is also a ninth time. His music indulges in everything woodwind, string and can provide percussion instruments. Especially the flute, the harp, xylophone and various versions translate the most abstract stage directions in tangible emotions. Like a romantic Program music such as Tchaikovsky's ballet "Romeo and Juliet" plays Newman sentiment and drama and provides one way, sometimes more, sometimes less explicitly, of nightmares. Should it to be at this point, of course, to transfer the perfect animation art made by Pixar, set it apart from "Toy Story" (fd 31 830) to "Ratatouille" (fd 38 348) always manages to bizarre stories in believable (computer) Pictures . Director Andrew Stanton and his character art designer Jason Deamer have managed to breathe a robot that consists of little more than two photocells and six metal fingers, the whole range of (human) feelings. It weighs a lot more than the successfully operated with great effort trying to let the third dimension by means of computer animation still "real".
The story of WALL-E and EVA is of course even after the plant fund. It is conventional, since worsened dramatically, and replaced with a bunch of "disabled" the inevitable robot for a cartoon comic sidekicks. Finally, the action's action-packed climax on the mega-ship, in which the robots for their love, the preservation of plant and struggling for the sensing of a humanity that has degenerated in the last seven centuries, to a nation of nothing but thick worms. What the whole thing finally gets a neat ecological message. Forever and ever but the first half of "Wall-E" will remain in the memory, call the viewers, the three main virtues of cinema in memory: listening watch, be banned! Jörg Gerle (filmdienst 20/2008)
The Bavarian Outlaw is one of the unruly characters from the southern German legend treasure. Why she enjoys a certain popularity, can not fathom that simple. Although the poaching is one of the offenses that Mathias Kneissl (1875-1902) brought the state violence in conflict and characters such as the Jenner wine or the "Bavarian Iliad" made famous. But the adjective "robbers" indicates criminal activity. Kneip was born into an impoverished family of innkeepers northwest of Munich, the dealings with the law was not as accurate. His father died in 1892 from the consequences of arrest, the mother sat in prison for receiving stolen goods, and the youthful Kneissl had 1893 for nearly six years behind bars, because when he was arrested, a policeman was killed. His attempts at the turn of the century, to put it into a bourgeois normality foot failed. cost The death of two police officers after a shooting him then his head Kneißl executed in 1902 Augsburg with the guillotine. However, he was in his lifetime as a national hero, whose predatory life manifested a kind of resistance against the authorities and the myth in satires and ballads found Kneißl-precipitation.
decrypted From today's perspective, the "robbers" Biography certainly not as a drama of a rebellious outlaw, Reinhard Hauff as 1970 with "Matthias Kneissl (fd 17 377) interpreted or lives on in songs by Ringo or Biermösl Blosn to the present. Kneissl's life was rather short in a tragic downward spiral into poverty, exclusion and the overthrow of a repressive order to nowhere mutually accelerated. The almost complete absence of critical interpretations of social features as well as the recent film adaptation by Marcus H. Rose Mueller, who appropriates the material for his version of a Bavarian entertainment cinema. His Kneissl, Maximilian Brückner embodies with fine understatement is an upright, thoroughly honest character, who is leaving prison in 1899 as an optimist and be purer of shady dealings finally the fingers wants. He prefers to take arduous path takes into account, to purchase its (ship) ticket to the New World, America, in an honest way. That in his cousin Mathilde also finds true love, fits into the prospect of a better life. In the face of so much charm and ambition, the environment seems at first too willing to throw him to not stick between the legs. But it is sufficient a single opponent in order to reactivate the resentment and the "convict" to catapult out of bounds. Without pay and bread Kneißl remains little more than his dream to extort with a gun in his hand.
Rose Mueller told this as a blend of chronicle and ballad, close to the Facts and yet with fabulous, sometimes comedic gesture of what losing a strange iridescence caused, in the twilight of the characters not only their grip. The trick to is the beginning, a silhouette-like black and white image expanded into color and three-dimensional threat, together purr as a kind of anti-mirror to turn against the film, its high cost and Detailfreudigkeit at the end to little more than a sad fate. Also refers to regional foundation of history, which spelled out to the Upper Bavarian idiom and in equipment and costumes, a respectable historicity achieved in the staging little response. The director does not shy away from the famous Bonds about the bike sequence from "Butch Cassidy and the Sundance Kid" (FD 16 411), and the guitar-driven score by Gerd Baumann sometimes feeds the impression Kneissl had already arrived in the Western. Also like so many strange details like the ocher yellow boots, that is wrong Kneißl evident through the countryside, have a hang in the disturbing reality, but the appearance of authenticity. Leaving aside the historical figure and the question of interpretation, but the outside and passes the verstolperten first act, the breathless outlines the complex history, unfolds an exciting and amusing, sometimes burlesque drama, by its local characteristics, at least for there to occupy, where you can decode it. Should not be overlooked, however, that Rose Mueller met hearted excursion into the realm of the historic home movie to a fundamental limit: the typing. Kneissl opponent Foertsch is devious, the henchman of the city's investigator on the face disfigured by scars, the farmers are masterful, the servants of dull. Just as Maria Furtwängler Kneißl mother remains itself, even if she converses very convincing in the bottom of Bayerisch. Josef Lederer (filmdienst 17/2008)
that a villain can be very disturbing, even if it looks stupid, had Javier Bardem in "No Country for Old Men" (fd 38 601 proved). Heath Ledger's performance as The Joker, who has won through his death in morbid fascination, recalls this scene, even if Ledger's leisurely Over Acting little in common with Bardems rather cool game. Again, it is the complete irrationality of the figure, which accounts for the terror. With drooping shoulders, smeared clown makeup and the over-Tick, smacking Mouth movement that looks as if a chameleon eat a fly, radiates from the diabolically-Ledger not appreciative Zirkusgrandezza which Jack Nicholson ("Batman", fd 27 905) once gave the role. Frail and dilapidated, his Joker, but increases the gap between damaged exterior and flawless, because meaningful free viciousness the disturbing thing about the figure, which works sometimes, as though a demon takes possession of a body, the vocal tract and muscles he only almost but not quite as a man dominated. Where the Joker comes from, how he became what he is and what he really wants is unclear. As the same game card, it is a kind of Space, makes it much besides the fact that he is well versed with explosives, his ability to exploit the weaknesses of others: their greed, their ruthlessness, their fear, anger or love. To this end, he gets in "The Dark Knight" ample opportunity, because of emotions that can be manipulated, is lacking in the movie is not that develops between dose and carefully choreographed action sequences to the great tragic opera in the center of Bruce Wayne aka Batman. Was he in "Batman Begins" (fd 37 111) found out from his childhood trauma to one (though divided) the identity, he stays here first rather uninteresting - a simple avenger in the holy anger among the smaller and bigger criminals of Gotham City goes. This Batman is not alone, for even the indefatigable policeman James Gordon and the charismatic new district attorney Harvey Dent has declared the fight against organized crime. Finally, when the hoarded money supplies of the mafia clans are threatened and transported Batman a new "business partners" in a daring action from Hong Kong back to Gotham, so he says in court against the syndicates to see the underworld bosses forced to accept the offer of the Joker, eliminate their opponents. Who plays his own game but to unmask Batman and Gotham into chaos efficiently to overthrow. Bruce Wayne, however, will support Harvey Dent, Gotham's "white knight" who proceeds with the means of law against the crime. Its success should make it one day useless to legitimized by any democratic body Batman to lead the field. However, a sting is in this partnership is Dent but the new friend of Bruce's beloved Rachel. In the course of these complications and mirrored by the principal and occupied contoured minor characters, the title character finally wins at that ambivalence born of depth that they already excelled in Nolan's first "Batman" movie. Their conflict is reminiscent of John Wayne's role in 'The Man, the Liberty Vallance shot "(FD 11 449): Bruce knows that law and order are on questionable feet when they are enforced by illegal methods - and feels but given the power of criminals forced as Batman in the law passed as Dark Savior for the sins to take on that need to be committed in order to "cleanse" Gotham: A "free hero" who sits on the rules of the social contract away and do what want to do the official city fathers, but not allowed . Wagner's "Ring" sounds, it's when the Joker him at one point indirectly compares with the figure of Siegfried, and he himself with his penchant for playing with fire and double games, a modern lodge, who manages to make the anarchist "World Brand" the hope for a project managed by the rule of law Gotham almost nothing. Something clearly seems good in this depraved (and not very comic way staged) world to have no chance. So pessimistic in his humanity no longer a mainstream film was more. This is because even the sinister to the Joker character in Batman and the whole "The Dark Knight": You burn across the screen as nightmares and dream of an exhausted democracy, from organized collective fears nothing, and the strong individual everything and hoped. "Big Brother Batman" is truly a very black knight. Felicitas Kleiner (filmdienst 17/2008)
Does the discoverer of the meatball? If such food is not collective performance? Dishes that emerge slowly, according to the logic of their material conditions as it may be, for example, been with the burger: you had crumbs and little meat, but wanted to fill the stomach, as offered the handle on both and was to full desire you had the meat and the bread zusammenmanschen yes. . Many are doing it have, simultaneously, in different places, and witness the different names, too: Fleischbengelchen, meatball, meatballs, rabbit ears, meat cookie "So it is in a prominent place in Uwe Timm's novel" The Invention of Curried Sausage "- and just this place is in Ulla Wagner's film unfortunately did not before. Just as the narrator fiction, double, nested memory, the retrieval situation of the impatient narrator, the postmodern self-reference, the narrative logic breaks (Bremer's lost sense of taste) and all the little digressions and everyday observations of Timms impressive complex novel about the lies and cunning delaying unpleasant truths. Ulla Wagner, who is also responsible for the screenplay, has opted for focused psychological chamber drama, wants an unusual but telling actually not improbable love story. Hamburg, in April 1945. The Nazi regime is on its last legs, but wants to take revenge by Volkssturm and total mobilization nor that the Germans have once again proven to be too weak for the conquest of the world. Hamburg has been declared a fortress and to the last man to be defended, while the Allies bombed the city almost continuously. If the Political system is gradually being overcome, it says in any case the film grows, the individual scope of action. The not so young Lena Bruckner, played outstandingly by Barbara Sukowa, works as a manager of a canteen and learns the evening before the film the young sailor Hermann (very smart: Alexander Khuon), whom she takes home as the next air attack, the newsreel ended. Lena's husband Gary, a rogue and ne'er-do, and Lena's son went missing at the front. Hermann takes the offer of the woman, deserted and hides in her apartment. Thus begins a love story against the concrete circumstances of the time, cheerful, spontaneous and subversive in every way. Still do not believe only the block waiting for the final victory, nor be held in establishments propaganda speeches, but the biggest threat to this relationship is based on peace. Lena Bremer has concealed that he married and father of a young child, but Lena discovers a photo of the young family. When the war ends, she decides to extend their brief happiness with a little silence, while Hermann begins to dream of the next expedition to the east. The small apartment, previously was the retreat of the lovers becomes a prison, while not as mixed at the door without the cards. When Lena, disgusted shocked by the images from the concentration camps and of Hermann's war fantasies but then the capitulation of the German Empire must report this means the end of the relationship. Hermann disappears, as he came, but the energy that Lena has withdrawn from this meeting goes, after all, in order to secure even after the return of the unfaithful husband's independence. The eponymous "Invention of Curried Sausage" is reflective of the liberating energy of the "impossible" love story of Lena and Herman, but does the combination of two things that do not fit together really, really well: "rubble and a new beginning, süßlichscharfe anarchy" (Uwe Timm ). In contrast to the literary source is allowed, the film conventionally melodramatic "cloture" of a recent meeting of former lovers before Lenas Currywurstbude. The exciting on several levels reflected and folded structure of Timm's novel could not and did not film Ulla Wagner. Its consistently simplistic finishing the presentation to a relatively linear narrative, which focuses entirely on the psychology of the protagonist of something stage-like atmosphere makes the image pushed time, from "The Invention of Curried Sausage," an entertaining feel-good film elevated levels. Of course this one has a little too often feel they have seen it all before, such as "The Marriage of Maria Braun" (FD 21 181) Rainer Werner Fassbinder, on the "The Invention of Curried Sausage" would easily pass as a prequel. Told, however, with the resources and limitations of a moderate at best ambitious television play, unafraid of any dramatic concession to the audience. Ulrich Kriest (filmdienst 19/2008)
movie info: http : / / www.imdb.com/title/tt0989603/
Cinema: Harmony (Frankfurt)
Trailer:
criticism
Is Sabine Derflinger "42plus" most obvious symptom of overproduction crisis of German Films that are increasingly rinsed films to the movies, at best, as a television game-assembly for a well-kept are good Monday or Wednesday evening? Or is it a clever film for the target group aged art-house clientele, who can play for their mid-life crisis here by Claudia Michelsen, Ulrich Tukur, Tobias Moretti? The story about "42plus" is so cliché that it hurts. Christine is an attractive, successful TV talk Erin, her husband George is a busy doctor. Daughter Sonya's sexuality is just waking up, so it has for the common Italian holiday as some made. The marriage of Christine and George runs routinely, have long both partners lover, which is still barely concealed. When Christine met with upon arrival in their luxurious house a young man in her bed, she responded, amused and confident - as Tamaz begins challenging to flirt with her. Later, on the beach, they will meet the young man again and he will begin her to be a promise. Meanwhile, their daughter Sonja is a goal-oriented way, making the parents a bit uneasy. In each setting, in any dialog of "42plus" the ambition of the director is felt to provide a framework that outlines the characters and conflicts, but, please, not merely on the trivial nature as Rosamunde Pilcher. Sorry affects the result in a trivial way ambitious: The characters torture themselves by way of theater-PAPER dialogues make it clear to the ever, that the words at the same time a little more abstract to testify about the character. The same goes for the rest of the installation: If George on holiday old fashioned rock music in the CD player moves, we know immediately that this action is to call his difficulties with aging, its relationship to the nostalgic past youth. Christine may be a successful media woman, on vacation, they only attractive woman whose intellectual disposition was made obvious at the airport. Scene for scene, sentence by sentence compressed Derflinger a thesis-like scenario to more of a Experimental set-up recalls for a movie. To the exposure of course follows the crisis: Of course, one can Christine on an affair with Tamaz, of course arises just at this moment in Christine's lover Martin elderly with his wife Linda. Tobias Moretti is as narrow-minded Martin paragon of machismo and greasy complacency. It is clear that it should go here by the difference between George and Martin, but, unfortunately, is completely incomprehensible why a woman like Christine is said to have taken up with a creep like Martin. The "male spectrum," the "42plus" fan out, is a local restaurateur, who a few Mediterranean wisdom may contribute, completed the self conscious Tamaz and Sonja's boyfriend in a way. Thus, while designed Claudia Michelsen Christina's love of adventure with an almost reckless intensity (her dramatic performance alone is worth the entrance fee), the artfully draped fabric relationship implodes under the southern sun. Finally, Christine and George will continue their relationship under renegotiated terms. In the press release that runs on the point "Together stay alive beyond. There Sabine Derflinger also speak of their intentions and constructs her film a context that makes stunned. You want a close to "42plus" to Rossellini's "Viaggio "Recognize (3882), films such as" Baise-moi in Italia "(fd 34 542) or" Intimacy "(fd 34 894). "The gray veil of disappointment" over their lives, the sense the well-off middle-aged more or less, through sexuality, "the last remaining animal in us," torn. It Derflinger formulated in the press kit, and just sees "42plus" also from: Every sentence is a thesis that was set then pointedly as possible in theatrical scene. Not even the lower points of an ironic look on life lies the middle class helps the film to be mimetic. With Rossellini's freedom in the staging of the result to do so little as with the radicalism of "Intimacy" and "Baise-moi". Too bad only about the representational services and solutions, conventional and not very surprising didactics have been sacrificed. Ulrich Kriest (filmdienst 15/2008)
