Many delights in the searchable online archive of Spy Magazine, the originator of the Trump put-down 'short-fingered vulgarian'. A collection of literal translations of French porn films from the May 1992 issue:
This is a new German documentary about Jens Soering, the German national who was convicted of a 1985 double-murder and sentenced to life imprisonment in Virginia, where he still is. Here are two trailers, the first in German, the second in English.
Soering's case has a long and complex history. While in England, he fought extradition to the state of Virginia on the grounds that it would violate European human rights law for Britain to extradite Soering to Virginia to face the possibility of capital punishment. The European Court of Human Rights agreed in Soering v. UK. Virginia dropped its demand for the death penalty, Soering was returned, convicted, and now is in prison for life.
He initially confessed to the crime and fled the country. He now claims he's innocent of the crime, but I haven't really been convinced by anything I've read so far. The documentary looks intriguing, I'll post any thoughts as soon as I've seen it.
This is the first and last time I will ever put a trigger warning on this blog, but these videos contain brief shots of crime scene photos with mutilated human bodies, so be advised.
I watched Unsere Mütter, Unsere Väter ('Our Mothers, Our Fathers'), the three-part German miniseries that has recently been released to decidedly mixed reviews in the USA under the title 'Generation War'. In the New York Times, A.O. Scott calls it
an attempt to normalize German history. Its lesson is that ordinary Germans — “Our Mothers, Our Fathers,” in the original title — were not so different from anyone else, and deserve the empathy and understanding of their grandchildren.'
...There is good and bad on all sides, a dash of mercy mixed into the endless violence. But the suggestion that the Nazis were not the only bad guys in Eastern Europe in the early 1940s is undermined by the film’s disinclination to show the very worst of what the Nazis did. We see massacres of Jews by local militias in Ukraine under the supervision of the SS, but “Generation War,” for all its geographical range and military detail, steers clear of the death camps.
This omission has the effect of at least partly restoring the innocence of the characters and of perpetuating the notion that ordinary Germans were duped by the Nazis and ignorant of the extent of their crimes — that they were as much Hitler’s victims as his accomplices and did not know what he was doing. They also suffered, after all, but there is something troubling about how the filmmakers apportion this suffering.
Virtually all the reviews name-check the various controversies the film provoked -- Poles were especially frustrated by the depiction of Polish anti-Semitism among partisans.
I rather liked the movie. One thing that American reviewers may not appreciate is its simple technical proficiency. Americans are spoiled -- standards of dialogue, narrative pacing and production design are now so uniformly high in American television series that Americans take it for granted that backgrounds and sets will appear extremely plausible and detailed down to the last cigarette butt or car model, and that dialogue will sound as if it were actually being produced by people in the periods and professions the actors portray. This doesn't mean that show is worth watching or the plot is plausible, but the technical stuff will seem right.
In German shows, alas, this basic level of proficiency can't be taken for granted. Generation War looks authentic, although I'm sure there are minor flaws here and there. The combat scenes are chaotic and gritty, basically copies of Steven Spielberg. Which is fine by me -- nobody does combat scenes in middlebrow war movies better than Spielberg, and there's not much room for individual experimentation, so why not copy the master? The director, Philipp Kadelbach, has worked hard at creating a bloody, gritty, nasty, violent combat background, and deserves kudos for pulling that off.
It's also refreshing to see a German movie that other nations are interested in seeing. German cinema is in at least the third decade of doldrums, producing far too many portentous didactic pieces about parochial social issues or navel-gazing rides on the hobbyhorses of the urban bourgeoisie. Germans are well aware of this problem, which is the subject anguished hand-wringing every year as the German Film Prize goes to yet another group of movies that few have seen and which sink rapidly into oblivion.
One of the culprits is the script review process, necessary to get the public funds with which these movies are made. Any juice these movies might have had is patiently extracted during this process, in which squeamish, picky film bureaucrats carefully remove most traces of originality, political incorrectness, or excessive action. I myself have seen a film script with the review marks of numerous of these prigs, whose favorite means of removing interesting scenes from movies is the phrase 'zu Hollywood' (too Hollywood). Generation War is hardly profound auteur cinema, but it's a gripping, well-made middlebrow drama with well-defined characters (the cast, as is usually the case in German movies, is outstanding) and which doesn't shy away from controversy.
The critics who carp that the movie doesn't do precely-calibrated justice to all who suffered under German rule (no death camps? Polish anti-Semites?) are missing the point. The typical German film would have tried to placate every constituency, and would for just that reason have been a pedagogic exercise. The movie focusses on the five main characters, showing 'their' wars. We see German soldiers committing plenty of atrocities, and witness ordinary Germans gleefully parroting militaristic and anti-Semitic propaganda, denouncing one another, and ruthlessly executing women and children. Not all of the five main characters survive, and the ones who do are all morally compromised. The fact that they also display some sympathetic qualities such as loyalty to friends hardly counts as whitewashing.
American critics seem blind to the fact that Generation War is an anti-war film. Americans and Britons approach a German movie about World War II with an iron framework of anticipations and preconceptions that focus narrowly on one question: Are the Germans somehow trying to whitewash their unspeakable past? Once you put aside this tired framing, you see that Generation War is about the human stupidity, groupthink, and cowardice that lead to war. The non-Jewish German characters start out swallowing Hitler's propaganda about a quick war and the international Judeo-Bolshevik conspiracy (while excepting their Jewish friend Viktor Goldstein under the motto of Karl Lueger, former mayor of Vienna: 'Wer ein Jud' ist, bestimme ich' (g) -- 'I decide who's a Jew'). The rest of the movie grinds each of the four non-Jewish characters through a relentless nightmare of betrayal, hypocrisy, moral corruption, and violence that kills a few of them and leaves the rest permanently scarred and profoundly cynical. The viewer is meant to experience this as just retribution for their gullibility and gradually-expanding complicity in evil.
Generation War is a German movie that shows the horror and futility of any war anywhere. It's a straightforward, not-particularly-subtle morality tale about the dangers of nationalism and militarism. American critics might have given that aspect of the movie some thought, considering that just 11 years ago, Americans were -- with truly embarrassing ease -- suckered into supporting a pointless, brutal occupation that has now left over a million injured, 270,000 of whom have brain injuries (counting Afghanistan), not to mention the countless millions of Iraqis and Afghans killed and injured. Whether the echo was intentional or not, it's telling that one of the German characters, fighting partisans and the Red Army on the front lines in Russia, muses bitterly that just three years ago, the German army was 'greeted as liberators' from Bolshevism.
Poem, a 2004 movie by Ralf Schmerberg that I watched for the first time last night on DVD, consists of dramatized recitations of 19 German poems from Goethe onward. Some of the poems are quite famous, others moderately so, and some slightly obscure. The dramatizations aren't connected in any way, save for the framing device of a Tibetan man carrying another man on a handmade back-chair through the mountains, which intervenes every 30 minutes or so and culminates in a poem-accompanied religious ceremony. The poems are presented in utterly different ways: some as direct dramatic declamations; some as accompaniments to documentary-like records of child-rearing, weddings, or religious processions; some as theatrical mini-spectacles; some as accompaniment to scenes which involve no humans at all.
This is a very German movie, in the best way. The poems which are recited by characters on-screen (including David Bennent, Carmen Birk, and Klaus-Maria Brandauer), are recited with whacking great dollops of dramatic flair, in the tradition of German-speaking lands. Some English-speakers, who are accustomed to less stylized poetry recitation in which the 'words are supposed to do all the work', may find this a bit off-putting at first. Yet when this sort of dramatic declamation is done right (as with Brandauer above, rendering every other reading of this Heine poem -- perhaps any Heine poem -- superfluous), it is enthralling. (It's also worth keeping in mind that these poets wrote in a culture in which they would expect their poems to be dramatically declaimed by actors.)
The settings and accompaniment for the poems are never predictable, and, at their best, create a touching, ironic, or bizarre field of interference with the words of the poem itself, as when Ernst Jandl's bleak Believe and Confess (g) (in which he bluntly states that he knows he will never see his dead loved ones again and confesses that he hasn't the 'slightest wish' for this to happen) is accompanied by tear-stained, boozy, unstaged scenes from a very ordinary German wedding, or when Trakl's frothingly mystical Morgenlied (g) is recited by David Bennent, in full knightly armor, wandering down the median of a German highway.
'Poem' is by turns mesmerizing, pretentious, funny, moving, witty, ironic, and preposterous. A few of the musical choices have gotten a bit stale (the music of Arvo Pärt, for all its charm, has become an art-house cliche), and a few of the settings are in questionable taste. But that's what makes 'Poem' so lively -- the filmmakers take risks, and sometimes the rewards are spectacular. Strongly recommended.
Item: Animal House is known in Germany as 'Ich glaub’, mich tritt ein Pferd' (I think a horse is kicking me), which is an expression of surprise.
A few days ago, I challenged readers to identify this film still:
I was a bit disappointed that nobody came through. Mr. M wanted to know the answer. The still is from the 1963 Czech science-fiction movie Ikarie XB-1. The entire original version, with good English subtitles, can be found on YouTube and is highly recommended. It's a moody, philosophical film about a crew of astronauts who stumble upon an abandoned ship from an earlier voyage and much else besides. As you might expect from a Czech movie, the futuristic spacecraft furnishings are stylish and appealing. There's even a party scene in which we hear the easy-listening music of the future and watch astronauts dance to it!
I blogged before about To My Great Chagrin, the documentary about Brother Theodore, scion of a wealthy Jewish Düsseldorf family who was chased out of Germany by the Nazis, landed in the U.S., and started a career as the strangest, darkest, absurdest stand-up 'comedian' you're ever likely to see. He called his bit 'stand-up tragedy.'
I've now got news that the producer, Jeff Sumerel, is offering a new, enhanced DVD with interviews with Woody Allen, Eric Bogosian, and many others. You can -- and should -- order it here.
A few days ago I watched Funny Games, Austrian director Michael Haneke's 1997 succes de scandale -- which he remade in the U.S. a decade later. Since there will be spoilers, the rest comes after the jump.