Berlin (dpa) – Literaturverfilmungen often enjoy a bad reputation: On the printed template they do not come ran, too short, too superficial. Author Daniel Kehlmann says: “Basically, I do not share the cheap skepticism about literary adaptations.”
Because: Most movies are bad – whether literary adaptation or not. “And if a film is successful, one wonders no longer thereafter on which template it is based.” This could the 40-year-olds now own fare once so: After “Fame” and “Measuring the World” is now “Me and Kaminski” based on the eponymous Kehlmann’s novel in German cinemas
. Daniel Brühl plays in the hapless art critic Sebastian publican who looks slightly cranky with long hair and beard. This is further supported by its arrogant, großkotzige attitude. He wants to write a biography of the almost forgotten artist Manuel Kaminski (Jesper Christensen), who entered as a blind painter in the story. But publicans smells a scoop: Can see the rickety baldhead well
The two narcissistic impostor could hardly be more different, which makes director Wolfgang Becker already at their respective places of residence clearly: Here the bright, loft-style big city apartment, furnished only with the most necessary furniture. . There, the secluded property in the Alps, stuffed with chunky sofas, dark closets and a dinner table
Kaminski, of the public shielded by his strict daughter Miriam (Amira Casar), can not look at the cards – certainly not of the standard dedicated publican. It was only when the drive is to the old man to his high school sweetheart, comes the story – and thus also the relationship between the two – rolling. They argue about love, carry out generational conflicts. It switch roles who just pay attention more to whom. What is intended as a satirical comedy, true in some places entirely too thoughtful.
Speaking of sometimes appearing precocious artist comes with philosophical advice therefore. So he answers, as the destitute publican “I have nothing,” said: “Then you throw it away.” In a cheap flophouse, he is again, of a prostitute ordered down on the hotel room.
The fact that it comes to art in the film and that it is based on a book already on the breakdown by chapters, it becomes clear. The transitions are artistically: The scenes go in stills on that act like paintings. Chapter number and title are displayed. . An unconventional reaction, both the novel as well as the creative theme is but justice per se
Kehlmann was not involved in the work, by its own account, but in constant conversation with Becker and author Thomas Wendrich – over several drafts of the script away. “I’ve seen the movie several times and find it insightful, witty, imaginative and in the most beautiful sense of unusual,” the writer says now -. More praise can filmmakers hardly get
Those who know the book is much will find. However, there is a crucial difference, the Kehlmann so describes: “One of the challenges of implementation was of course the fact that the reader of this book is locked in the first-person perspective of a vain and constantly self overestimated narrator – that’s in the film, the so naturally Figures from the outside is not to make readily. ” Still dominated the publicans perspective.
In order to refute the stereotype of Unverfilmbarkeit of literature, Kehlmann cites Stanley Kubrick films, “No Country for Old Men” by the Coen brothers, Sam Mendes’ “Revolutionary Road “and Alexander Payne’s” About Schmidt “. Also “Ich und Kaminski” can serve as a proof
“The best thing a movie can succeed is that it detaches from the template and simply as that is perceived for what it is:. A good film which is self-sufficient, “says Kehlmann. And – very modest – he adds: “I am convinced that even with” Ich und Kaminski
“will be.”
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