movie info: http://www.imdb.com/title/tt0765432/
Cinema: e-cinema, Frankfurt
Trailer:
criticism
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)
