It's night. A girl and her boyfriend can't sleep. After a day of unsuccessful attempts to find a proper job, they don't want to suffer life "as it is" without having at least tried to change something. But before you can change, you have to reflect, and that's what they do during the course of this small-scale, but yet enchanting art-house picture. First in their bedroom, and then wandering around the streets, the two of them exchange their perspectives on life in the big city, as part of a crowd, as a small wheel in the capitalistic machine, and ultimately as seekers for happiness and relieve. The dialogue is sort of a voice-over-soundtrack to more or less blurred images of anonymous metropolitan images, which are from time to time interrupted by a return of the camera eye to the couples' bedroom where the exchange continues – or still takes place, since it is unclear where they are positioned precisely. While the girl outlines her problems with having an identity in a world where identities don't mean a lot any more, the boy takes the position of an almost Socratian questioner, leading her to refine her views. While in one way sharing the idea that something can be done to alter society – a society more dead than living, more mechanical than solidary –, they also share the notion that exploitation (to some people, by some people) is inevitably an (albeit ugly) part of the way people use to live nowadays. Buy isn't the real tragedy the fact that while noting that and trying to escape to a better way of life, you doing nothing more than reassuring the system? Questions are tough in this one, a film where an average couple takes on a sort of "amateur sociological perspective" to question the world they live in. Not easy, but appealing nonetheless.
Reviews
70 Reviews
Death Knows Your Name
(2007)
Had it's moments...
24 December 2010
If only this was made in the 70s! In some of the scenes I felt I was traced back to French films of the 70s, which to me is a good thing. In others, "Death knows your Name" (misleading title) looked more like the usual splatter-feast nowadays produced in the US for the direct-to-DVD market. So this Argentian production seems to have two very different "parents". Speaking of strange mixtures, there's no doubt the story also had it's compelling parts, while other aspects were quite foreseeable. I like it when horror movies take place in the daylight, but I dislike an overload of (unexpained) symbolism (seen here, for instance, in the relevance of mirrors). The lead acting wasn't so convincing either. But overall, "Death" did have it's moments. I guess there are people out there that would really enjoy it. (I think I would like it better if the title was "Death doesn't know your name", just for the subtle fun of it.)
Der scharfe Heinrich
(1971)
The Beauty of physical Love with more than one Person
3 September 2009
This little oddity is has more to offer than is visible at first sight. Admitably, the title "Horny Henry" does not help to distinguish it from the dozens of cheap German sex comedies than came out in the 70s. And in the very end, this one joins the club by turning into a Benny Hill-like screwballistic exaggeration. Still, it starts off as a quite funny tale of a couple (he's a dentist, she – inevitably for the time – housewife and mom). Upon the rise of the '68-movement, the intellectual husband tries to persuade his rather conservative wife to try out group sex: that's what modern and unprejudiced people do nowadays! The whole plot is reflected by her voice over reflection on his demands. Finally she agrees; but the two couples that are invited make the whole evening a mess. Expectations are (too) high, capabilities are too low, and there's the inevitable collision of a decent upper-middle-class lifestyle with the idea – but only the idea – of wild, crazy, outgoing sexuality. If flawed as a comedy, "Heinrich" today says quiet a lot of the time of it's creation. For that it's worth a look.
Mache alles mit
(1971)
"Modern People don't have Taboos"
13 June 2009
Sailing to German cinemas on the wave of the hugely popular "Schuldmädchenreport"-films (aiming to depict the "real" sex-life of schoolgirls and boys – while, in fact, delivering ultra-trash pseudo-pornography), "Mache alles mit" has never achieved similar fame nor cult status – although it must have been among the first movies trying to compete with the "Schoolgirls' Reports". The title, roughly translatable into "I do everything" or rather: "I'll join in into everything" is what 17-year old Dagmar considers to be the open-mind that people "in modernity" need to have. Thus she embraces in all sorts of sexual adventures (which are mainly shown in flashback sequences). That may sound as if she were a post-68 self-confident girl who knows what to want, where and with whom; but of course, films like these disguise conservative messages with a almost neurotic passion for the (so defined) "sickness" of "open love" (proof is usually, as is here, given by insights into the sex- and drug-dominated world of the communes). Therefore, Dagmar is presented as curious, but still shameful girl forced by social change to abandon the good values of her upbringing and "join into everything"; that is because, she is told and believes, "modern people don't have taboos". However, the viewer is never left in doubt that sexual freedom is in fact the road to hell and that chastity and "true love" will prevail once young people truly learn to appreciate what life has to offer. Which is why a conservative student is needed to show Dagmar that "join into everything" will end up "having nothing". As one would expect, this good-looking, likable guy is far from overt intellectualism and has no hesitation to wholeheartedly laugh at the misfortunes of those who don't share his "wisdom". (Given the fact that author/director Nachmann has faced trouble during the Nazi years and was forced to hide behind pseudonyms, it is astonishing to see shades of ultra-right-wing ideology on this films' bottom line.) In the very end, police is forced to step in, for underage Dagmar earlier took part in an orgy (by answering to a newspaper ad!) that is prosecuted as "unlawful"; and we don't know (but can only hope, the film implies), that she will have learned her lesson. Trash entertainment meets conservative ideology meets sexual exploitation (unusual for the genre, there's quite a lot of rape included): in all, an interesting mixture.
Seppun
(2007)
Who kissed whom?
29 April 2009
A man kills a family of three without apparent reason. He arranges his own arrest which is broad casted live on nationwide television, since he himself informed the media. This is watched by a young woman whose life lacks anything that makes it worth living. She tries to make contact to the killer who hasn't spoken a word since his arrest. The two of meet inside the prison – and realize they're made for each other. Or are they not? In between them stand his lawyer who is torn between his fascination for the naive and yet immensely engaged girl on the one hand and his stranger-than-lifetime client on the other. And slowly the emotional bonds change... – "The Kiss", as the film is called internationally (it was screened under that title during the "Nippon Connection" Japanese Film Festival in Frankfurt, Germany, in the march of 2009), combines mystery, crime and a love story into one entertaining effort. Maybe the story is a bit predictable (compare the main figure to the protagonist of the Spanish film "Aro Tolbukhin" of 2002, for instance), and maybe it's all a bit too "artistic" (people don't behave that way); but it's enjoyable nonetheless. A plus goes to the development of the storyline which includes one or two unforeseeable twists, not least the punchline finale.
She Killed in Ecstasy
(1971)
The Bride wore pink
8 March 2009
Warning: Spoilers
For a film directed by Jess Franco (disguised under the alias "Frank Hollmann"), this one has a surprisingly straight forward narrative. Filmed on great locations (both concerning landscapes and architecture) and presented on the DVD in splendid picture quality, Francos delivers a fast-paced and entertaining interpretation of a common theme: the vengeful lady. No doubt much of the film owes to Francois Truffauts "La Mariée était en Noir"; but whereas Truffauts bride aims at revenge only, Francos heroine (as pretty as they usually are) mixes vendetta with arousal. Attention, spoilers ahead: If you ever wanted to see a nude 56year old Howard Vernon (but who would?) this one is the flick to rent. In a particularly bizarre scene Vernons character undresses and goes to bed with what he believes to be a prostitute; before things go further (with Vernon, Francos veteran associate, playing a highly ethical physician demanding to be insulted during the intercourse) comes a prayer... The director has a trademark cameo and so has German cult figure Horst Tappert, playing as always the leading policeman. There's also some lesbianism involved (resulting in one girl suffocating the other with a transparent plastic pillow!), but violence is relatively moderate. Some aspects of cadrage are of interest: The picture shows not what the protagonists hands are doing (although these doings are important for the plot), but at first only their faces, then slightly enlarging the view. Of the many films Franco made I own about twenty; of the ones I already saw, this is probably the one with the clearest storyline and the most focused storytelling. Not original, but neatly done, entertaining and still a true Franco.
Divine Emanuelle
(1981)
Love will set you free
1 January 2009
What a funny ride! Written, directed, produced by and starring Christian Anders, then one of Germanys foremost "Schlager" singers ("Schlager" being a low-brow chanson-like musical style popular with the elderly and nowadays fondly paid tribute to by "remember the 70s" disco-night revivals), it's main attraction undoubtedly is Laura Gemser in the role of a love cults' divine goddess destined to bring love to the people – or else, if that won't work. Anders, who is of course also responsible for the half-cheesy, half-stolen soundtrack, later, under the influence of eastern religious philosophy, wrote a book on "The Sense of Life", claiming that 30ft high apes once made love to other monkeys, and out came – mankind. His aims looked different back in 1981 (good picture quality on the DVD, by the way; I'm referring to the full uncut release), for "The Death Goddess of the Love Camp" (literal translation) resembles everything you would expect from a cheap, exploitative soft-sex movie out there to do nothing else than make money. The story looks a bit as if the Jim Jones tragedy meets early 70s porn, complete with some musical numbers (badly dubbed) and lots of nudity, and there are even a few torture-like scenes. Direction is terrible, but the film has it's entertaining moments, has Laura Gemser, and is weird enough to be watched at least once.
Surveillance
(I) (2008)
Might be hard to like
30 December 2008
Warning: Spoilers
Spoilers ahead. In the beginning, SURVEILLANCE looked fine. The trailer I had seen weeks before promised a sort of Rashomon-storytelling. Finally seeing the film, I hoped that Jenny Lynch would not aim at a big smash-in-your-face-punchline-finale, but would rather opt for a novella-like open ending. I was to be disappointed. I want to comment on some parts from a perspective AFTER the big twist is shown, since in my opinion is it here that the illogical elements of the whole construction become painfully obvious. You can, of course, claim that a piece of art does not necessarily have to be "realistic" or "logical" to be entertaining, but for my reading, lack of goofs is regarded as a good thing. Here we go. It turns out that our heroes, Ormond and Pullman, were the killers right from the start. Strange thing is, I saw that coming after 15 minutes, but then listened to their dialogue and said: Well, the lunatic killers they are after wouldn't talk like that since what they said was a) reflexive, intelligent, "normal", and b) fitted right into the viewers imagination of what their "roles" as FBI-people demand. They talk as if someone listened. In other words, Ormond and Pullman never gave a weak performance while dressing as someone they are not (within the movie; they ARE, of course, neither killers nor FBI in reality). But then came the big surprise and Ormond killed those redneck cops. Good luck for her that cop Degrasso a) wasn't faster with his own gun and b) wasn't looking at the pictures on the lower of the deck earlier and c) that he didn't see the bullet coming and so on. Okay, surprise effect I accept that explanation. Good also that the little kid Stephanie - while having no problem informing the two bad cops of her earlier encounter , did not like to tell nice Janet or the incredibly likable Captain (was Michael Ironside ever cuter?) about whom killed her mom and brother in her presence, but prefers to inform the killers of her secret knowledge. Then again, why would she not, since psychopath Ormond was so nice to her it made everyone feel warm at heart. Wait a moment - what actually was the purpose all that questioning? Ormond questions little Stephanie like a professional psychologist would do (how did she learn that?), but up until the end the killers have the origin plan of killing Stephanie, too (that is until they say she deserves to live for having been clever to discover their "true" identity). So why question the child, make her paint pictures and be kind to her, if this will have "no effect" on Stephanie? Sadism? Maybe. But we don't see a evil smile on Ormonds face when she is alone with Pullman after interrogating Stephanie. Rather, Ormond expresses strong feelings of sympathy. There's not the slightest hint of the couples' real plans in that scene, even though they are alone. Looking back to earlier events, why would anyone confronted with a person in a bag consider this automatically to be a kidnapped woman, as both Bobbi and Bennet do? If the bag was her, then who drove the car that rammed Stephanies family? Keith, the driver, is dead, his hands cuffed to the wheel. Whoever killed him must have done that before that car stood still, and must therefore be nearby Keiths body; this could only have been "the bag". I'm no policeman, but I would have been more careful when approaching the car anyway. Why would the two officers even open it? They could have lead anyone else away from the sight, inform other policemen and just wait - because that car was so damaged it wasn't going anywhere anymore, and there was nothing nearby, just desert... Police has it's duties, I agree. But wouldn't these duties also include, in the police station, to collect some information on the FBI people that are about to take the long journey all the way from I-don't-know-where. Wasn't there the least telephone call beforehand the interrogations? And also, wasn't anyone from the FBI headquarters trying to contact their people? If so, O and P could hardly answer to such a call, which would have lead the FBI to contact the police station their agents were aiming at in the first place. So Pullman and Ormond disguise as FBI. Lucky them the clothes of the original FBI people (were they male and female, anyway? That wasn't so clear in the motel scene) fitted perfectly (they don't were these clothes during the Motorway incident), and luckily no one asks for the ID card as well (which one the redneck could have done just to display his anger). Speaking of that, for psychopaths O and P were pretty well informed on the police mentality and the tensions between cops and FBI. And where did they get their knowledge on the surveillance technology, I wonder? Why wouldn't someone like Bennet (obviously called a suspect by the "FBI"), or even Bobbi call a lawyer, or family members to tell them everything's alright now - since that nice FBI lady and her colleague are here? Wouldn't the family of Bennet's dead partner be informed and look by to gather information? Wouldn't the coroner of the killers' victims bodies have some questions and remarks? Wouldn't Bennet be out of duty, anyway (since the time between his partners' death and the arrival of the "FBI" ought to be a few days?). However, he stills wears the same bloody clothes. Shouldn't any town officials or so contact the FBI people, since the most infamous murders of the country (that's what the television newscasters announcement implies) are obviously close by? Not to mention if local TV made a visit for a live broadcast interview with the FBI experts... That all said, SURVEILLANCE wasn't that bad. But the ending was (and the trailer promised so much more!). As always, don't believe me, check it yourself.
Haine
(1980)
Who was under the Helmet?
30 December 2008
If Kinski agreed to do a film, the most important thing to him was the money. At least this is what he says. His autobiographies (there are three in total) present him as the weird, nervous, sexually obsessed genius that he wanted people to think of him. Although it is well known that most of the dramatic stories Kinski tells about his life are made-up (e.g. most of his struggles with long-time director Werner Herzog), others are near to the truth. HAINE, for instance, proves that Kinski did in fact not care about anything but the money, at least in the present case. When the filming days he was contracted to were over, he simply left. This is why the director had to case someone else play Kinskis role, which was wisely chosen as a motorbike driver, thus the stand-in wears a helmet in all of its scenes; including some in which hardly anyone would wear a helmet... Oh, and Maria Schneider is in there as well, even with some nudity. I presume on paper the film may have looked different than the final product. However, if you like exploitation and an exaggerated storyline and a bit of sleaziness and, most of all, Kinski, there's doubt you will enjoy the film.
Sexual education in 1970: The German method
30 December 2008
The fact that this very rare oddity was given away as "free" bonus DVD to another film (the no-less exploitational "Les Demoiselle de Pensionnat" from 1976) speaks for itself. Watching "Love Techniques for the Experienced", as its title can be translated, gives the impression that there would hardly any consumers eager to buy the film on it's own merit. Then again, collectors of the seldom and obscure may like it for what it is worth. Essentially, the film has various unconnected scenes dealing with sexuality, mainly the sexual lives of the youth in 1970 Frankfurt (including two male minors who conclude that homosexual prostitution is the gate to wealth!), which builds up to the incredible unexciting finale, when the dean of a university (his "office" obviously a normal private living room) confronts a professor about rumors that he has shown a pornographic film to his students. What would be better a better strategy of defense than to present the material? Thus, various techniques of love making (sort of an educational rendition of the Kama Sutra) find their way to the screen, and in the end, of course, the dean changes his mind and is happy about the educational efforts of his colleague. The sex scenes are moderate, and so is the overall quality.
Inferno of Torture
(1969)
Tattoos, tattoos, torture, tattoos
29 December 2008
A film about obsessions on bondage and tattoos, disguised as historically adequate treatment of an inglorious episode in Japans long gone past. It's ingredients are violence, brothels, tattoos, female whorehouse bosses, tattoos, mean pimps, even meaner prostitutes, tattoos, whips, knives, drugs, torture and tattoos. The main theme is the transformation of young girls' skins into pieces of art, depicting both abstract and figurative motives, the latter mainly dealing with death, birth, violence and other more or less disturbing themes. Compared to other far eastern films from the same exploitation category, the violence seems almost moderate. The narration, in a fairytale-like old fashioned style, is, of course, a child of it's time. In total, the film's not so good, but not so bad either; it is not very original, but still (in a positive sense) light years away from the commercial cinema we have today which is intriguing since films like this, in their days, were themselves first and foremost done to make money.
Uncle's Paradise
(2006)
Weirdness ahead
29 December 2008
Warning: Spoilers
Watch out! Comedy meets art-house meets porn. It is advertised on the DVD as a "bizarre trip into the hell of sex". Takeshi visits his nephew; he suffers from Insomnia and whenever he get sleepy, he has the irresistible drive to have sex. For unknown reasons, all women he proposes to (including his nephews girlfriend) cannot resist either. Nor does the nephew mind, since he's busy with his attempt to catch a big squid that was recently seen nearby in the ocean. That's why their home is filled with squid all over. Spoiler to follow: Did I mention all the protagonists end up in hell? If you ever stayed in a cheap hotel overnight, you may have thought it looks like hell and this film will convince you that you were in fact right! A very strange film with lots of weirdness on the one hand and graphic sexual scenes on the other. Not "different" enough to be a masterpiece, but it can still be enjoyed, sort of.
What a Flash!
(1972)
Krsdfhsdkjfhkrhrhwrhhwhrf
13 September 2008
A documentary on the flower-power-alternative-post-68-generation. About 40 (more or less young) people enter a big hall, presumably a film studio (in French speaking Canada?). The doors are closed and they are to remain here for 50 hours to interact, discuss, eat, drink, sleep, "create" whatever they feel like. Drugs are forbidden, and so is sexual intercourse; supposedly, both of these bans are broken, but only the sex is visible. Soon after the doors close, some of the people undress, some complain, some lay down to rest, some go nuts; some perform a theatrical play on the last day of the life of Jesus Christ (this one is obviously encouraged by the film crew which is present all the time). Some engage into a gigantic orgy (two, in fact: one with a "unisex" and one with a "multisex" option). Some want to discuss political matters, which inevitably leads to no solutions and no agreements. Some start to cry, some want to leave; but no one actually goes. A band constantly plays music. A couple "marries" - and has it's wedding night in front of the others. The idea that the filmmaker has given each participant is to imagine he is in a spaceship on a trip to the stars - which everyone dying at the end! Therefore, some believe that the whole performance is in fact a trap made up by the establishment to get rid of the "punks" of society. And indeed, in the end these deaths happen, but they are, of course, staged. There is never a second of doubt that each of the "acting" sequences included in the film are something different than the uncontrolled and spontaneous reactions and interactions before and afterward. Some of the guys and gals want to use the setting to display revolt, some play games, some try to rule, some want to obey; but in the end, the hall door opens, all step outside and everyone is happy. But subjective descriptions don't work well with this oddity. It's many things at once: interesting, yet sometimes boring; disappointing, yet sometimes suspenseful; unsurprising, yet sometimes awesome. In short, annoying, but at the same time fascinating.
The Cult
(1971)
Whipping, Flashbacks, Satans Daughters
18 May 2008
There are two striking different narratives in this film by one-time-director "Kentucky Jones" (how is that connected to Indiana Jones, I wonder?). First is the (colour) story of his bizarre love cult, a typically stereotyped religious community with a male guru and his young female followers. You have the sex, you have the chanting, but there's not much of charisma in the leader, and even less of a story. For whatever reason they come across an assembly of four equally stereotyped party people eager to explore, both spiritually and physically, new things, all in the wake of '68. While at first this combination seems to fit perfectly, things get out of hand soon
Yet from the perspective of today, the Manson family's massacre on Sharon Tate et al. is weaker connected than one might think. (In Germany, it is thus called 'The Daughters of Satan' to eliminate any false promises.) Second, there are the (black and white) flashback sequences, giving rather fragmentary information on the cults' backgrounds and their motivation. With one exception: The past of the leader is explored a bit deeper, giving insight into an insane mixture of incest, homosexual rape and other violence. Since this is exploitation at it's worst (and therefore best), there's not need to be convincing or realistic. The characters are pure cliché, direction is fourth class, the music is campy, the actors can't act. With other words: Great fun, highly entertaining, and the script even has some notable ideas.
Punishment Park
(1971)
A Smash in the Face
11 May 2008
It kicks you in the stomach. There are other films with more convincing characters, a more realistic story, and maybe even more depth concerning political invocations. But then again, most of these are not directed by Peter Watkins. Maybe the one true genius artist of British Film to emerge out of the 1960s, Watkins has made quite a bunch of rarely seen films that perfectly capture the spirit of the outer-aesthetic world - the world of political ongoings, social problems and governmental solutions. Thus, his work is probably less "filmic" than, say, political, which some may call a weakening of their inherent artistic quality. Then again, why shouldn't art allow itself to become engaged? Watkins dares. And succeeds. You won't feel well with this one. You won't feel happy. Actually, you won't really like the film; it is uncompromising, honest, direct, unashamed; a smash in your face, in short. You can't help getting angry, you can't resist to let the things you see touch you. That is what makes Watkins' films so rewarding.
À chacun son enfer
(1977)
Atrocity with Atmosphere
11 May 2008
The film starts, the credits roll, Annie Girardots face fills the screen and the music begins. From the very first sequence on, the film is as wonderfully atmospheric as a French criminal story of the 70s can be. Every detail perfectly fits in this disturbing story of, basically, a woman's suffering. She suffers in the face of a horrible crime and it's even more horrible solution. Girardot is a brilliant, utterly convincing actress. Her performance alone is worth all cost and search for this rare gem. On the one hand, not a film to set you in good mood; and there's no relaxing finale, anyway. But, on the other hand, a highly tense story and technically a lesson on how crime flicks used to be made with respect to narration, thrill and atmosphere. Note: A few striking similarities may be found in the much later "The Clearing".
One to Another
(2006)
To each their Night
13 April 2008
A very french film. It stars a bunch of teenagers in some provincial town in France, living their lives and loving each other both mentally and physically. A murderous event interrupts the lives of five very close people. Nudity and sexuality are present throughout, but they are not exploited, they rather serve as essential elements of the story that unfolds. And in a way this probably is the most "french" element , they are both graphic and tasteful at the same time. The physical attractions cannot be excluded from the characters' thoughts and deeds and developments, yet it is exactly the difference and/or connection between mind and body that marks a central element. Scenes jump from one point of the time line to another, yet the overall narration and presentation is quite realistic (after all, the film is based on a true story). Luckily, this is neither a moral tale nor an "investigating" look at the nightlife of the hedonistic youth of our time; it is a very "talky" movie which some inevitably will find boring while others will be mesmerized. Given it will not be shown often (which looks as if), "Chacun sa Nuit" is very likely to receive a sort of cult potential in the coming years.
United Red Army
(2007)
Three Hours of Jitsuroku
5 April 2008
Koji Wakamatsus latest entry in a line of more than 100 films is narrated in the style of "jutsuroku": a mixture of documentation and fictional scenes. In the very beginning of it's 189 minutes, an overview of the Japanese student movement in the 1960s is given almost à la history Channel. In uncomplicated language, a voice-over speaker reflects the political occurrences, mentions the protagonists and, where necessary, explains the backgrounds. Slowly the fictional parts, which are woven into the documentary material, step in the foreground; even then all new characters are introduced with name, age and other details which are written on the screen above their heads. Based on various sources that witnessed the actual events, Wakamatsus surprisingly straight narration retells what happened within the Japanese Red Army Fraction after it's unification with fellow underground political party RLF. In their aim to overthrow the Japanese society both by terms of terrorist methods as well as with socialist agitation, the two groups got together in the mountains of the Gumma district to train for the "war" and to endlessly discuss their ideological basis. More and more, their exclusion from the outer world due to pressure from the police lead them to restrict to their own world and to heighten their political ideas to a sort of fundamental religion. Forced to put onto "self-trial", 14 of the 26 members fail to express sincere devotion to the communistic aim and are subsequently killed by their fellow fighter. Inevitably, what started out as a student movement to the world to the better, ends as an internal slaughter of fanatics killing each other. Compared to other left-wing terrorist movements from the 1970s (such as the German RAF, the French Action Directe or the Italian Brigade Rosse), the Japanese United Red Army or at least what Wakamatsu shows us is significant in it's harsh internal struggles; the war they wanted to fight, it seems, was more a war against their own insecurities and fears than against the Capitalist world. Although an important factor, it was a wise choice not to try to "explain" the events with the specialties of Japanese culture. By giving a chronological retelling of historical reality with the attempt to strictly remain with the facts, Wakamatsu rejects the option of fantasizing about motives and motivations, which is ever more intriguing given the fact that he knew many of the actual people personally. (He was himself involved in some of their early actions in the founding years). In the end, after three hours went by incredibly fast, what left is a deep and strong impact from a brilliant film that asks for repeating viewing and will most likely lead to further discussions and research on the viewers' side. It's a gripping, intelligent, tense and, yes, an uncompromising as well a stimulating film.
Embassy
(1972)
Too few Thrills
12 November 2007
It looks as if this cinematic essay in crime n' politics is quite rare. It is equipped with a cast that includes Max von Sydow, Ray Milland and Broderick Crawford and has a story with potential: A Russian working in the Ministry of Defense wants political asylum after his son is taken to the Gulag. He enters the US embassy in Beirut, only to be perpetrated by brute force killer Chuck Connors. Doesn't sound so bad, really; but it all is done in the manner of a TV movie. There are moments of thrill, but then again, no less moments of cheesy dialogue and bad cinematography. Among the actors, Connors stands out as sort of the personification of evil, but the script doesn't allow him to display all traits of his character. In essence, this film if you can find it, since it has quite a few alternative titles is fun to watch on a lazy Sunday afternoon, but doesn't fit for repeated viewing.
Mad Love
(1985)
Eclipse of Reason
12 November 2007
Indescribable. Zulawskis rendition of Dostojewski steps over the borders. This is surreal theater from it's most outside, most avant-garde, and yes, it's most autonomous perspective. The viewer is entertained, no doubt; and everything he sees is staged for his entertainment; but never is there a doubt that this is a form art that lives beyond the category of entertainment. To prove that such an art is possible, Zulawski makes his actors transform into lifeless figures that recite paradox phrases; and with that, he makes them the vulnerable animals that people really are, behind their masks. If you look at the dark sides, you can also find innocence, but you won't find reason or rationality only sheer emotion, usually struggling with one's minds rational side, but the latter is entirely lost here. Still, the protagonists find ways to give their lives a philosophical fundament, and they spent the whole of the film arguing about them, thereby feeling pain, enduring humiliation, reaching for freedom. Harshly uncompromising, ever unforgettable.
Control
(1987)
Bunker Prison Experiment
11 November 2007
In the final credits it says that Philip G. Zimbardo served as scientific adviser for this film. Not only the author of a world-famous introductory book on psychology, Zimbardo was also professor at Stanford University and in this position responsible for the infamous "Stanford Prison Experiment" that was later, among others, turned into a decent film by German director Oliver Hirschbiegel in the 90s. "Il Giorno prima" has some elements of that particular experiment. Whereas back in Stanford volunteers were given the roles of guardians and prisoners and stuck into an improvised prison, "Giorno" has a bunch of people residing in an atomic bunker for two weeks to explore the psychological difficulties that may arise from such a situation. In Stanford, things went wrong: The "guardians" used their roles to punish and humiliate the "prisoners", displaying raw violence in a surrounding that was only to be taken "as if"; Zimbardo had to stop the experiment in order to save the participants' lives. The "Stanford Prison Experiment" gave an insight on how people behave under extreme circumstances. This is repeated in "Il Giorno prima", this time located in a German bunker, with Burt Lancaster in a sort-of "homage" to Zimbardos own original role. As one would expect from an experiment (though the inhabitants of the bunker are not so suspicious), stimuli from outside are brought in, thereby creating arguments, discrepancies and finally even violence. The "moral", so to say, is not surprising, and the acting isn't so great, but the main fault is the very naive script. Then again, it still is an entertaining flick, well worth a look but probably not two.
Olivia
(1983)
A Touch of Surreality
10 November 2007
Somehow one is reminded of Brian de Palmas film "Obsession" when watching this rarely seen German-American production from the early eighties. Ulli Lommel, once member of Rainer Werner Fassbinders highly intellectual actors group, turned to directing when he still under Fassbinders influence, but after his mentors untimely death he finally turned to more commercial topics. "Olivia" or "A Taste of Sin", as it is apparently also known at first sight looks like pure (S)Exploitation, but there's more to it. As Lommel says in the short interview that accompanies the films' German DVD release, the idea of the story came to his mind when he, while on a trip with his then-wife Suzanna Love (playing the main part), found out that the London Bridge was rebuild in Arizona. He used this as the outline for a sort of identity-switch trouble-personality killer-love story combining two places with two personalities, both of which essentially having been one from the very beginning. True, the way the story unfolds is far from cinematic brilliance, but nonetheless it is quite entertaining; and in no one way is this modern fairytale the brutal splatter film that others would probably want it to be. There are some harsh effects, and a few violent scenes are included in the aforementioned DVD as bonus (yet only the material that was originally cut out is seen, which makes some of this bonus shorter than even a second!). But sex, murder and blood, while still important for the outline, are not the main attractions. Lommel intensely tries to give his film a psychological touch. Because of his limited skills in storytelling, he does not succeed. But still: Olivias rite of passage makes for entertaining viewing, especially is you like that particular touch of weirdness, absurdity and "otherness" that so many great underground pictures from the 70s carry.
Schoolgirls Growing Up
(1972)
"Sometimes I just need the Love of a Woman"
30 September 2007
This film, third installment in a series totaling 13 entries, is not - as another reviewer mentioned - intended to be "educational". As with the other flicks of the series, the educational frame is only used to display absurdities in the sex life of German "school girls" of the 70s. In fact, it's classical soft porn stuff with a strong comical touch. No one speaks or acts as these "school girls" do; but some wish they would. The product of this fantasy are the "Schulmädchenreports". True, back in the days of their original releases, millions went to the cinema to see them. That, however, does not say anything about their quality, let alone the "educational" effort behind them. Looking at it today, and especially at vol. 3, it's hard not to laugh out loud. Every usual element is included: Incest, suicide, nymphomania and an over-the-top "liberalism" that makes sex look like everyone's single spare time activity. However, this particular film also has some darker moments (which are no less funny, but probably unintended to be so). If you want to see the father seduced by his own daughter to "save" the parents marriage, or want to witness a beautiful girl seducing her 10-year-old cousin(!), this one is the place to go. However funny and/or strange the episodes of the film are, one has to keep in mind that the actors were non-professionals, basically casted "on the street". This alone makes it an interesting reflection on the social reality of Germany in the years following '68.
Making the Trial visible
1 September 2007
This, the controversial winner of the 1986 Berlin Film Festival, is rarely seen on TV screens these days, at least in it's native country. This is not unlikely to be caused by the controversy of the subject. Based on a script by well-known German journalist Stefan Aust, who himself based the script on his lengthy book "The Baader-Meinhof-Complex" about 1970s terrorism in Germany, and directed by Reinhard Hauff (who already had experience with "political themes" in film, not least in "Messer im Kopf"), "Stammheim" reconstructs the trial against four leading figures of the so-called Red Army Fraction. The RAF was the prime terrorist movement in Germany from the early 70s on, split in three different "generations", with the prisoners of this trial being the first. (The second, consisting of people who hardly knew the first, was far more violent; the third is still some sort of mystery today, since almost nobody was ever caught). Stammheim is a suburb of the city of Stuttgart, and here stands the jail house especially build for terrorists and equipped with an own trial room to host prosecution against, as it was called then, "participation in terrorist alliances". During the course of this particular trial – which became famous as "the" Stammheim trial, thus the title –, the defendants used every opportunity to display their political propaganda, and chances were given quite a lot during the 192 days it ran. At the same time they aimed at unmasking the judge and the attorneys as ideologically driven quasi-Nazis; they tried to manipulate the trial, supported by their lawyers (some of which later became famous politicians, but not all of them remained leftist), and their eager agitation gave insight into their own thoughts, perspectives and prejudices. In essence, the four RAF leaders (two men: Baader and Raspe, two women: Ensslin and Meinhof) claimed that the German government was on it's direct way back to fascism, especially after supporting the US-American attacks on Vietnam. Therefore it was just to fight the state, destroy it's facilities or even kill people in charge.
This is the outline of the recitations that make up this film. Hauff presents scenes from the trial by juxtaposing few fictional elements with lots of quotes from the actual protocols. The atmosphere is theatrical (and indeed "Stammheim" was co-produced by a Hamburg theater company) and a bit surreal, with the setting – as realistic as it is – looking almost like sci-fi (as did the courtroom in the real Stammheim). Given the impact that the RAFs terror made in German politics and society from the 70s up until 1998 (when the third generation announced the end of their mission), the picture is dynamite: For instance, it dares to focus on the highly controversial topic of "raison d'etat", which stands – in the eyes of the RAF and their lawyers – for the German authorities' secret strategy of killing "political prisoners". When, in 1977, the Baader, Raspe and Ensslin killed themselves (Meinhof already committed suicide during the trial), many supporters and intellectuals accused the state of murder. But before that, following the sentence to life-long prison for each defendant came the most famous kidnapping case in German history. It is not seen in the film, which ends with the sentence, but viewers should be aware that the second generation abducted an influential industrial manager (with personal Nazi background) to blackmail the freeing of the first. After that failed, a plane full of travelers on their way home from summer holiday was hijacked additionally. In the end, the manager was killed, the passengers were freed violently, and the inhabitants of Stammheim took their own lives that very same night.
The film is all about talking, confronting positions, discourse. The action is in the words. For those familiar with the background of the story and it's social, psychological and political implications, "Stammheim" delivers stunning entertainment by making the trial visible. Even if you don't know about the roots of the film, it is still impressive. It's a laudable achievement in bringing together fiction and political reality in a unique and thrilling way.
This is the outline of the recitations that make up this film. Hauff presents scenes from the trial by juxtaposing few fictional elements with lots of quotes from the actual protocols. The atmosphere is theatrical (and indeed "Stammheim" was co-produced by a Hamburg theater company) and a bit surreal, with the setting – as realistic as it is – looking almost like sci-fi (as did the courtroom in the real Stammheim). Given the impact that the RAFs terror made in German politics and society from the 70s up until 1998 (when the third generation announced the end of their mission), the picture is dynamite: For instance, it dares to focus on the highly controversial topic of "raison d'etat", which stands – in the eyes of the RAF and their lawyers – for the German authorities' secret strategy of killing "political prisoners". When, in 1977, the Baader, Raspe and Ensslin killed themselves (Meinhof already committed suicide during the trial), many supporters and intellectuals accused the state of murder. But before that, following the sentence to life-long prison for each defendant came the most famous kidnapping case in German history. It is not seen in the film, which ends with the sentence, but viewers should be aware that the second generation abducted an influential industrial manager (with personal Nazi background) to blackmail the freeing of the first. After that failed, a plane full of travelers on their way home from summer holiday was hijacked additionally. In the end, the manager was killed, the passengers were freed violently, and the inhabitants of Stammheim took their own lives that very same night.
The film is all about talking, confronting positions, discourse. The action is in the words. For those familiar with the background of the story and it's social, psychological and political implications, "Stammheim" delivers stunning entertainment by making the trial visible. Even if you don't know about the roots of the film, it is still impressive. It's a laudable achievement in bringing together fiction and political reality in a unique and thrilling way.
Dorothea's Rache
(1974)
Dosto-Sado-Maso-Jewski
22 August 2007
Warning: Spoilers
Though primarily intended to be a parody on the then-notorious wave of German sex-films that claim to be "scientifically" accurate, "Dorotheas Rache" won a price as best picture of 1974. And if that wasn't good enough, the price is the Prix de Group Panic, donated by the brilliant cinematic trio infernal consisting of playwright/artist Roland Topor (best known to film lovers as the author who provided the story for Roman Polanskis "Le Tenant"), neo-surrealistic director Fernando Arrabal ("Viva la Muerte") and multi-talented filmmaker-genius Alejandro Jodorowsky ("El Topo"). The three applauded "Dorothea" as a masterpiece of the new, larger-than-life, politically reflective film of the post-68 years. It offers, they stated, thought-provocation in a daring, symbolist manner that resembles a mix-up of Pasolini and Breton. And indeed, director Peter Fleischmann and fellow screenwriter Jean-Claude Carrière (long-time collaborator of Luis Bunuel) have gone to the limits with this passion of a young girl in search for the meaning of love. Almost all the actors are non-professionals from the sinister underworld of St. Pauli, Hamburg. Anna Henkel – who later starred in Bernardo Bertoluccis "1900" and still later married famous German pop singer Herbert Grönemeyer, but tragically died of cancer at a young age – is brilliant as the 17-year old protagonist on her journey through darkness, weirdness, obscurity and obscenity. While trying to find out about the nature of love and the magnetic force between the sexes, she stumbles across pornographers, prostitutes and dominatrices, all of them deliberately depicted not as bizarre caricatures, and all of them behaving as if their home ground were the suburbs of a sex-loaded hellfire. Eventually, Dorothea's trip turns out to be a rite of passage in the midst of a capitalistic system. As first, there's her parental background: Her father owns a factory that produces comedy articles (such as jewel cases that provide laughter when opened), her mother is as average and boring as a mother can be – but only at first sight. Dorothea slowly evades from this surrounding into unknown territory when a friend, with whom she is making a hilariously absurd 8mm film called "Encyclopedia of Love" (devoted to the weirdest sexual practices you have ever been advised to re-enact) starts posing for pornographic pictures and is sexually abused during the first session. Both disgusted and attracted at the same time, and being broad-minded as can be, Dorothea starts trying it out herself. It's all done for her quest for the meaning of love in a world of exploitation, humiliation and perversity. Stations of Dorotheas passion include her being laid by three old, very unattractive men (full frontal nudity here, even "fuller" than usual!), with the girl surprising the men by turning the situation around. Subsequently there are her lesbian experiences with a domina (among whose clients is a single-legged masochist that likes to be crucified), her (harshly punished) attempt to be a nice to an unloved, frustrated man even prostitutes don't want as a customer, her idea to comfort her fathers economical problems with incest, and a personal encounter with Jesus who advises Dorothea to have sex with the mad and the lunatic to become happy
It sounds like a porn-revue from the asylum, and in some way, it is. But it's also an astonishing insight, a hallucinating voyage seen through the eyes of an, after all, innocent girl that tries to understand why things are the way they are. She keeps her innocence throughout her experiences – almost, at all (there's one "guilt" appearing out of the middle all those unredeemed sins). German writer Martin Walser called it a film in "Dosto-Sado-Maso-Jewski"-qualities when it came out, newspapers spoke of a "moralistic fable", of "Sex with a slice of Mao", and the film was nicknamed the "Maria Magdalena of the red-light district" or "Alice in Sexland". Views may vary, but there's no doubt "Dorotheas Rache" is an amour fou with erotic tension being the prime subject of a surrealistic roller-coaster ride.
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