movie info: http://www.imdb.com/title/tt1151827/
Cinema: Mathäser (Munich)
Trailer:
criticism
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)
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