One must visualize how much time has passed since Wolfgang Becker’s last film once. As a “Good Bye, Lenin!” the cinema came, Angela Merkel had just been ousted of Edmund Stoiber as candidate for chancellor. Facebook was still called Facemash. Germany held the blossoming eastern landscapes as a priority.
Above all, however, the filming has fundamentally changed. Celluloid has largely disappeared. Cinema is consumed in all formats and circumstances. The pace of films has almost doubled, from an average every five seconds for the turn of the century to an average every three seconds in contemporary cinema. This is accompanied by an increasing standardization of characters, the viewer should understand the first time, not later than the second view, with what kind of a man he has to do it.
There is a time in which one can easily lose as a filmmaker to connect. And the orientation in the field of conflict, what you want and what you want. Wolfgang Becker has turned nothing twelve years. Maintenance, not quite true. There was a charming Sechsminüter called “Ballero” to draw for the World Cup, in which a dressage horse with a ball bypasses as once Beckenbauer and from a cuckoo clock jumps an arbitrator to abzupfeifen. And a rather unfunny episode in the rather unsuccessful omnibus film “Germany 09″, was declared in Germany for “sick house”.
By these standards is “Ich und Kaminski” a small miracle. It is the film of an autonomous artist who decides fully sovereign, which he calls the time – because it benefits his storytelling – and when he refuses to trends.
For example, the matter of the characters. Its main characters are Manuel Kaminski, a mysterious painter and Sebastian Zöllner, an ambitious art critic. The one who throughout his life hung around with Matisse, Picasso and Warhol, has retreated to the Swiss Alps, as he began to go blind. The other suspects, the Sensation, will find the hermit, surveys, writing the definitive biography and make it big once Kaminski dies -. What is foreseen
A film against the German film Disease
These are two stories. of the tragedy of the genius and the new of the ruthlessness of the media, not by two The task, therefore, is to tell you so that you think you have never seen them. That’s the challenge facing the fail most German films. We have good actors, good camera people, good Production Designer and sometimes really strong stories. Only the narrative is very often very stuffy.
“Me and Kaminski” shows from the very first second that it intends to vigorously shake off this disease. “Last night’s Manuel Kaminski died,” a voice says in Newscaster style – and then we’ll get his life in three minutes pressed, in standing and running images, as in a television tribute. There is a mini-mockumentary, Kaminski with the entire art elite of the 20th century, and Picasso buys Kaminski-image and Woody Allen advises in the American version of “What am I?” That the unknown studio guest Manuel Kaminski must be.
A triple challenge
In those three minutes more allusions and inside jokes are hidden as in three German normal movies. Woody is in itself a threefold challenge, on the one hand, he is almost unrecognizable young, on the other hand his lines are placed in the mouth that he never said, and thirdly the technique is applied, which Allen himself for “Zelig” invented: the paste in . fictitious figures in historical documents
Kaminski’s life revue ends with a look at the long-haired-bearded face of Daniel Brühl, the highly discourages from sleep in a train compartment – and thus the straight Watched immediately calls into question again: Was this perhaps only a publican shear nightmare? A conductor is in publican compartment, which is acidic, to have been woken up – and shoots down the uniformed
It is the fifth deception perhaps in five minutes, which succumbs to the audience. It lasts only a few seconds, and then everything turns out as publicans fantasy, but it’s one of those small, delicate, narrative electrocution, which can permanently bestowed its viewers Becker. In the middle of Dialogues he cuts into loud what the interlocutor just think instead of saying it.
He doubled a fictional character to twins, so that complement each other when talking to each other and the speech rate grows to staccato. He contrasted oral narratives with visual flashbacks that run counter to what has been said. He builds dreams of his characters a, as if they were reality – and then brings them back to reality. He presented some of the finest transitions that we have seen in a long time, and each told in a few seconds her own story. And nothing is certain, not even Kaminskis blindness.
Jesper Christensen watch, is a pleasure
“I Kaminski and “disclosed no evidence of the art universe, we would not have heard before. Yes, Picasso was disgusting to his wives, and Kaminski takes everything out what geniuses maintain remove himself: slicing, bitching, manipulate. And yes, those types of media such as publicans we know too, ruthless, narcissistic, is grossly overestimating. It is a pleasure to watch the great Jesper Christensen from Denmark during rotation and falsification, and it is a pleasure to watch the ever-improving Daniel Brühl at unrepentant Tappen in each unexampled blunder.
The usual Hollywood structure of Dreiaktdramas – conflict escalation, solution – Becker has cast in favor of several upper and lower-voltage arcs overboard, and if he then still trying to put the big emotional finale, affects the not particularly effective. Beckers is to let them play a movie for all those who love it and play with it, constantly floating manner between satire and road movie , slapstick and drama New Generation. For the big game also includes an art exhibition in Berlin Bikini house, full of (extra painted for the film) paintings of the non-exist-wealthy Kaminski.
In this way, Becker takes his subject very close to the art, which for 100 years is itself a huge pitch for tricksters and copiers and bluffer. “Me and Kaminski” is a great Solitaire in German cinema, and also internationally you have to look far for such a pleasure of spinning tales … perhaps to “Amélie” comes to mind.
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