Oskar Roehler’s genre painting of the eighties: “Death to the hippies – Long live the punk” is a melancholic primed grotesque
The unreal atmosphere in the walled West Berlin of the 80s certainly had something a Bangert and oppressive. And yet it must be received in the cold war decade on the urban island also equally intoxicating, anarchic and creative. Finally, not only from West Germany, it drew a wide variety of artists, musicians, punks and hipsters to where they found their refuge in the subcultures of the city. David Bowie was at that time, although long since moved on again. For example, belonged to Nick Cave to the prominent choice Berliners, who was liked by the legendary theme pub “risk” to be found as Blixa Bargeld, front man of the “Einstürzende Neubauten”. Also, film director Oskar Roehler came in the 80s from Bavaria to Berlin and wandered recently with his novel “My Life as a monkey ass” back in that time. Now he has the same process even his book as a movie
. – Begins, however, in the West German province, which is in the hands of the hippies “Death to the hippies Long live the Punk!”. Students make for peace, love and flower power. Even the teachers grasvernebelt sit in a semicircle in the staff room. For Robert (Tom Schilling) which is unbearable: he shaved a mohawk and says goodbye to Berlin. The nights are determined from drinking and intoxication. He roams the city, is the “risk” and other clubs go and meet illustrious figures of cash to Cooper. During the day, however, he hires first with his old pal Black (Wilson Gonzalez Ochsenknecht), where he cleans the fully sprayed with cum slices of Sexkabinen in a peep show. There he meets on an American stripper, to whose love he will be worked on later as well as some family legacy in the difficult relationship with his parents – the mother, a broken, alcoholic writer, and his father, who was treasurer of the RAF once .
Not only it helps Roehler’s film even more significant autobiographical. Unlike but for example, in “The Untouchables,” in which he poured his mother Gisela Elsner the story in an elaborate black and white drama, this time by hitting especially his trashigeren, shriller pages. With subtleties, the filmmaker does not stop. Through its filter is the search for meaning in the 80s Berlin to melancholic primed grotesque. While the images are usually oscillates on the streets of Berlin between the filmed in color interiors and rough black and white, Roehler fills his movie back with excesses and absurdities, bizarre, ironic and comical moments that he sometimes a few turns on turns too far. ‘ / p>
The company that has gathered Roehler this is compiled similarly idiosyncratic. In addition to the reliable Tom Schilling Wilson Gonzalez Ochsenknecht delivers a very respectable appearance. Hannelore Hoger is the mother of Samuel Finzi to see the Father and Frederick Lau, one of the most exciting faces of German cinema and soon outstanding in Sebastian Schipper “Victoria”, embodies the contradictory, gay leather-Nazi buddy Gries. So spotty and unappetizing Roehler initially directed him in the province, he celebrates here once more the bad taste and moves with great devotion the ugly in the picture. 
Punk is especially the attitude Roberts and many other characters to life. Aimless and beyond societal constraints they drift away – like the film itself, the story is not so bad as the era that he revived. Rather, he lurches increasingly tougher to a tired tension by Roehler’s idiosyncratic distorted recollection imagination of the wall of Berlin
CREDITS
Country:. Germany
Director: Oskar Roehler
Cast: Tom Schilling, Hannelore Hoger, Samuel Finzi
Rated: 16 years
Length: 94 minutes
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