This is one of those challenges as they come in handy for an industry media as the “Hollywood Reporter”: also the background report on a Holocaust film shooting anfeaturen so that the initial episode sitting in their own way. Thus, since the director László Nemes and his core team visit first the old warehouse in Budapest, which will serve as concentration camp death factory for “Son of Saul”, and during the tour the steel door falls on the future set-gas chamber. Suddenly cinematographer Mátyás Erdély is included, and – as the participants remember – when the door is opened again, he comes “totally pale and shocked” out
A significant in several respects scene: Not only have Erdély. , Nemes and the subsequent “Son of Saul” – leading actor Géza Röhrig all lost ancestors from the wholesale and Urgroßelterngeneration in the Holocaust, they also move with this Hungarian feature film debut in narrative territory. And in the middle of a so never ever tarnished cinematic taboo inside. No comforting fairy tales from the camp as in Roberto Benigni’s “Life is Beautiful” (1998) is to be told here, no uplifting heroic story of the good Nazi businessman and Jewish rescuers as in Steven Spielberg’s “Schindler’s List” (1994), where from the shower heads in Auschwitz miraculously spilled water over the huddled bodies. But a sinister story that only begins with the gas chamber. Perhaps the filmmakers have just felt so because after the incident in the warehouse as Pandora, after they had opened the gift of Zeus rifle.
Working in the gas chamber and the crematorium
movie hero Saul foreigners working as dozens of other Jewish concentration camp prisoners, in a detail that is associated with a gas chamber and a crematorium. Its duties to escort the newly arrived Jews in the undressing to calm them and then to push into the gas chamber belongs. Next the abkommandierten to these works, Jews need to clean the gas chambers of sewage, removing the bodies to the crematorium, burn it, and pour the ashes into a nearby river. After a few months, the members of the Sonderkommando are killed, thus, nothing ever penetrates of what they need to do in order of the Germans to the outside world.
“Son of Saul” playing on two days in October 1944, thousands of Jews were burned in Auschwitz as a day. And indeed it is the SS corpse factory – deaths were referred to as “pieces” – not managed to preserve all this suffocating silence about the details of their actions. Hidden notes by members of the Sonderkommando were found after the war, and before the camera of the documentary filmmaker Claude Lanzmann have in “Shoah” (1985) Filip Müller and Abraham Bomba, two of the few survivors, their agonizing memories found. These sources has László Nemes carefully evaluated – and be quite elaborate “reenactment” not the concentration camp barracks world but organized death zone of Auschwitz not only the Grand Jury Prize at Cannes, the Golden Globe and the foreign Oscar, but also the blessing of Claude Lanzmann get himself
Claude Lanzmann:. the guardian of the ban on images
especially the latter is remarkable. Because Lanzmann was considered the absolute guardian of the prohibition of images in terms of the Holocaust – with good reason: No re-staged image, he preached, could ever be authentic, also prohibits himself to play the suffering of the people simply. The Holocaust is like a “black sun,” he said, his paintings killed the imagination – and actually acts the pure mindfulness as a reminder in the imagination much stronger than any visual fixation. Yes, in the debate on “Schindler’s List” Lanzmann even claimed he had destroyed shot by the SS documentary material from the gas chambers, if he had found same of his research.
“Son of Saul” likely some narrative and aesthetic fundamental decisions have voted the strict guardians of remembrance mild. So sets László Nemes – at least the results of its self-conceived dramatic invention ago – not a comforting exception to the rule. Saul, a teenage boy who initially survived the gas chamber, his son thinks he recognizes, fails in an effort to preserve the shortly thereafter by an SS doctor killed before the crematorium. The camera in turn almost always leaves, seemingly discreet, the background in the blur and focus only what Saul perceives: The inmates, the kapos, the SS commander who camp doctors, whom he wants to wrest the boy’s body in order to Jewish burial.
show and do not show at the same time: How will that work
Almost exclusively from the perspective of Saul, also in the 4: 3 format film forced, to the audience grasp what is happening and so with sucked be in hell this everyday. However, this concept is only apparently radically. Even the continuous blur is the compromise. None of the victims should be identified, not the hubris speculative exhibition be suspect. On the other hand, the film takes the creepiness of suggestion with love. Show and do not show the same: Also “Son of Saul” is unable to resolve this paradox
Even the dramatic structure turns out on closer inspection to be amazingly conventionally, so, leaning almost to the narrative patterns of action movies.. How different would be about the violent entry scene to interpret with the arrival of a shipment – the cry of the people, their counter-the-doors-hitting behind the gas chamber up to the terrible silence? As the virtuoso increased tenterhooks, parallel in search of Saul by a rabbi for the funeral of the child and in the preparation of the historical tradition of single prisoner revolt in Auschwitz, while the frequency of transport is more dense? And what is, simply spannungsdramaturgisch to think of the long shot, to be shot in the naked people now hastily to an enlightened by fire pit, because the crematories are overloaded?
screams and shots from the off
Not last worked the sound track to the Nemes and his sound designer Tamás Zanyi nearly five months, is clearly on the thrill. are on her, probably constantly listening to compensate for the narrow picture format, from the off commands and screams, shots and the barking of dogs, the primed the occasional whisper of prisoners. These “autonomous acoustic dimension” (Zanyi) acts soon as the massive orchestrated score a Actio agent which preceded whipped the audience feeling even during dramatic trailer.
There is no question Laszlo Nemes was a confrontational audience experience to the “immersion” to do from a dominant perspective. But “Son of Saul” it is – it looks cool on the principle of construction and the materials used – advised to not even unusual thriller, with strange undead stare gaze their chores active, triggering of the narrow plot hope apart. A ghost train ride is “Son of Saul” objectionable shudder. In nothing to compare with that shake forever by “Shoah”: a room, a man on a sofa crouching, his face, a man who remembers. And the silence between sets.
From Thursday in Berlin in Delphi, FaF, fsk, Kant and Moviemento (all subtitles)
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