A childhood in the ruins of post-war Cologne. The ARD two-parter “The Stairway to Heaven” shortens the horrors of the Nazi era in the good-evil scheme of a Gangster War
Axel Prahl as Armin Zettler and Christiane Paul as John Whyte on German two-parter “The Stairway to Heaven” | © ARD Degeto / Stephanie Kulbach
The ruins of Cologne replicate the years 1947/1948, was not easy: In an industrial site near Prague war ruins were rebuilt, made the transitions between the scenery and landscape digitally calculated as gently as possible – almost perfect. Only the Cologne Cathedral with whitish sky as a chimera from the simulation world seems a bit sallow
incomprehensible why those responsible for the ARD two-part The stairway to heaven -. Longing for tomorrow in casting, costume dramaturgy and did not proceed with similar meticulousness. Directed by Carlo Rola the dialect-resistant Degeto ensemble, no local color, no magic of a place, no peculiarities of the history of the clock rate of the guaranteeing euphony plays can bring. Who Kölsch and Koelle recites, and “sischer dat” and “delicious Mädsche” and “Prösterschen” is far advanced into the Catholic seducible heart of the Rhenish mentality.
The History of Stairway to Heaven based on the childhood memories of Peter Zingler, of a criminal escaped after many years of traveling through West German prisons by writing and more than 80 film and television screenplays wrote, He was famous for his Tatort -. and Schimanski stories
The Heavenly Ladder succumbs Zingler a Vertatortisierung the history. He transferred to the catastrophe of National Socialism in the good-evil scheme of a gangster war. In Cologne, the “zero hour” must be survived mainly because the law of the strongest, since we are in Little Chicago and not to the Court’s history. The good, the little people – they were not even looking away from Hitler’s helpers? – Stay with Zingler victim and being crushed if they do not organize. This small-Western ideology denies the boundless collective madness of the Nazi era. The polluted stream of history flows elsewhere.
We see how the Nazi Armin Zettler (Axel Prahl) draws its political threads and zoom throws to a Belgian occupation officer to get him downtown land for the construction of a headquarters. Previous owner be held on the table until they sign for the land register. Only when the noble John Whyte (Christiane Paul), whose plot takes Zettler, it does not aim. Their Jewish man Adam (Ernst Stötzner), a deckle speech writer, Zettler had brought to the camp.
The longer you watch the film, the clearer it becomes that there is a very private story is presented and there is no self-reflection on German guilt in the Rhenish environment.
Axel Prahl, who draws his political threads as incorrigible Nazi Zettler, and Christiane Paul as his decent opponent John Whyte, are smooth hiring mistakes. Prahl can only rowing behind panting with the arms of his villain role, the delight in falsehood missing his character, and can be Zettler seduce anyone. In Munster scene as the eternal Pauli fan he is in the right jersey. But when Uncle Bräsig from the fish head country he does not come across the Rhine.
Christiane Paul, the Berliner doctor’s daughter, also is not an everyday heroine through under the dome. Although the native Prussian operates according dutifully and with reasonable success linguistic cliffs of the dialect, but remains just as dauerumwölkte goddess of vengeance in mind. Rheinische joy of life of ordinary people, Catholic lightness, a tireless motherhood – that disappears in Pauls over cautious role in drawing foreign milieu terrain. A Cologne Cologne without Wat wells de maache
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