17:10 clock
Christian Petzold, born in 1960, is the great designer of the German film, yes, you want to call him the most inventive person Konstellator almost. After his film debut “Internal security” (2000), in which he saw the German terrorism from the then unheard new perspective of later generations, he explored – the consistently fascinating in “Ghosts” (2005) – in intricate plots again the always dazzling Psycho-fields about love and family, identity and doppelganger, pain and betrayal and guilt. Hidden in secrets were Petzold figures and at the same time always surrounded by loss, to the director, in “Yella” (2007) and most recently in “Barbara” (2012) disturbingly easily dissolved the secret in the final over generated substantial.
“Phoenix” Now, the once-inspiring pathways consisting of mystification and encryption Verfilmer own screenplays seems to have completely transformed into a kind Ideas engineer. The dramatic premise is so clear that its run by the two main characters – Nina Hoss and Ronald Zehrfeld, as in “Barbara” – actually technically works. Their game room literally is minimal in view of the experimental arrangement orchestrated by Petzold. As much as they all out – sometimes almost felt against his own doubts – do their best, and that’s a lot, so they act but as puppets of an anti-psychological experiment, Aufsagepuppen a time manic, yes, monomaniac its core ideas executioners director
is part The first half hour of “Phoenix”, wonderful Petzold’sch, a fine kadrierten, elegant rhythmic, economical in the dialogues and the more effective fuller exposition. Nelly (Nina Hoss) survived Auschwitz, and their pre-war girlfriend Lene (Nina Kunz village), which is committed by protected years in exile working for the Jewish Agency brings that. Shot in the head seriously injured in a hospital There Nelly’s face is almost as reconstructed at their request, as it looked before the healing process is going smoothly. Nelly’s whole desire now is to find her husband Johnny (Ronald Zehrfeld) and restore the love for him, though Lene their crystal clear mitt tells that they came to the camp by his betrayal.
This in itself demands a audience considerably out that in no way sues immediately some credibility from the bargain bin at the cinema substances. But when the former singer Nelly the former pianist Johnny finally makes identify – he works as a handyman in the “Phoenix”, a frequented by U.S. soldiers post-war theater – he begins to use them immediately and submit to her for a dastardly plan. The Nelly so amazingly similar may pretend to be his hell of Auschwitz escaped ex-wife; so they later came together effortlessly to the money from Nelly’s murdered relatives. And the real Nelly? Can this game
In addition to being real, existing pairs in the real existing post-war Germany probably had other concerns such as hochverquere mind games. apart from the fact also that the film real merged pair with sober reflection, even without the intrigue to those goods increase could have been: The with all directorial power claimed plausibility of the plot is now based solely on the fact that Johnny was the only one to almost last, Nelly does not recognize . He only sees it – open Visual fixed like so many movie director – non-conformity of the face of the mat mittuenden accomplice with his memory. He is deaf to her voice, insensitive to their smell, as they get closer, and even a kiss – even disguising it as a pair of strangers – not bring him on the track. Who’s believes.
More than that, henceforth Johnny operated as a sort of extended arm of the director himself. Apart from the finely orchestrated final scene, the script works like a rehearsal: Johnny brings his partner Nelly-similarity at, gives directions in the commonly shared basement apartment, imagines high precision upcoming greetings former friends in the first confrontation at a railway station. Everything runs, rationally so perfectly staged and emotionally infinitely desolate, like clockwork – for Johnny. And that late doubt Nelly on her beloved man is thrown against running suicide after Lena’s character development, does not make things better.
All Theatre! No question, the so wise Christian Petzold has gone too far in the fixed idea of a completely absurd love restore attempt, and soon proposes the Pappkulissenhaftigkeit the concept to other cinematic elements and details through. The ruins of the Berlin-sets will only appear a more carefully glued together, and even tattooed on the forearm concentration camp number seems so proper and tiny as a post-modern decorative tattoo. And suddenly sits Petzold that could have been brought at least with the corresponding neighborhood in combination, in the trivial offender Opferund Nazi kitsch trap.
What remains of “Phoenix” as a recognition by such überdehntem game with the recognition ? Who loves recognizes. And: Who loves, reveals himself. At least out in the so-called real life, where one sees and hears and smells and tastes. And
feels. Starting on Thursday at the Capitol, Cinemax, Delphi, fsk, Hackescher Höfe, International Culture Brewery and Yorck
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