The best scene of the film is his last. As are Stefan Zweig and his wife Charlotte found dead in her bed in Petrópolis, and the camera shows from the perspective of both how people react to the suicide of the couple in the bedroom. There are tears, whispers, puzzled silence and hectic activity, and at the same time is a profound futility above it all, as if the last word of the plot already spoken, and only the secondary characters have not noticed. Everything you see is only the credits, epilogue; the world has become for posterity that sinks into nothingness before the look of death.
When all the images in “Before the Dawn” as conclusive would like this, you might welcome Maria Schrader’s film than the discovery, as the celebrated him many critics. But the film is not satisfied with the clarity that is to gain from the reconstruction of branch death. He wants to beat a wide berth, he wants read out of the biographical stations that it leaves the traits of a broader drama, the tragedy of exile. He has at the same time very far and very near focus, and somewhere in between losing the shape of the eyes, which is the focus of the story, and replaces it with a schema, a ghost.
trailer: “Before the Dawn”
“Before the Dawn” begins with a reception at Rio de Janeiro and a writers’ conference in Buenos Aires in September 1936, and already in this prologue is clearly the dilemma of the film. Because the camera by Wolfgang Thaler, who has taken up the films of his Austrian compatriot Ulrich Seidl, does not try to bring a narrative flow in motion, receives the routes branch in both the Old and the New World. She enters the premises in which the story takes place, as separated rooms of a historical museum. It is the principle by which Alexander Sokurov has turned its Russia-Elegie “Russian Ark”. But there it went to the Hermitage, and this is about a writer who considered of Brazil from the self-destruction of Europe; a people no Kunstkabinett.
From Buenos Aires will jump the movie five years after Bahia, then to New York and finally to Petrópolis, and every time there is the same paralyzing mixture of documentary fiction and costume theater. The chapel, intones the Donauwalzer in the heat of the sugar cane fields, is a beautiful Pointe but you verzischt without reverberation.
On Distance: but Were so successful as the last only all images !
In the press release explained Maria Schrader and her coauthor January Schomburg that they are going “in depth” and wanted to get away from the melodramatic narrative form, which is usual for such substances. On the screen, this means that the story is marking one hundred minutes long. She has the room of death, so to speak already booked, the rigor mortis internalized.
Josef Hader, who plays the author of the “World of Yesterday”, is great in its blend of softness and frozen anger, and also Barbara Sukowa as ex-wife and Friderike Aenna Black as Lotte branch toil bravely. But it does not help; the waxworks remains silent. Unless it was from the outset a matter of turning a Stefan-Zweig-picture album that can run as an endless loop in the death house in Petrópolis. This has been successful the film.
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