An Evening with Rainer Simon
June 17, 2010
Evan and Rainer - Fall 2008 - Amherst, MA
Reality
After a day straining my eyes at the Bundesarchiv with microfiches detailing debates about film as a “kulturpolitisches Instrument,” it was nice to go to Potsdam and catch up with a friendly acquaintance.
Rainer Simon, one of the most prominent DEFA directors in the 1980s, invited me over to his art-bedecked apartment to talk shop and watch the World Cup.
While I hold much of our conversation in strict confidence, I can say he’s doing quite well: he was at a film festival in Guadalajara, and intends on re-visiting Mexico via Ecuador this fall if all goes right. He also foresees being in the U.S. for an extended stay in 2011, which may mean his films will be screened wherever he’s at. As a foreign director working in Mexico, he finds himself revisiting Sergei Eisenstein and his “failed” project ¡Que Viva México! (1931), which never does one harm to do.
At a certain point, the match between Brazil and North Korea began, such that we spent the next 90 minutes gaping at the television as the rare spectacle of the tightly coordinated North Korean defense pitted against the Brazilian powerhouse offense unfolded before our eyes. We naturally rooted for North Korea – Simon: “Ich stehe immer auf der Seite der Außenseiter.” – and were sad for their 2-1 loss. Nevertheless, we found it so poetic that they posed such a strong resistance for the first 65 minutes of the game that we forgot the renewed geopolitical dispute over the 38th Parallel N the country’s leaders have offered us in recent months. Then again, we are all captivated by immaculately kept soccer fields amidst a South Africa stricken by the horrific economic and social consequences of neoliberal capitalism. So it goes.
Fantasy
Lady Snowblood (dir. Toshiya Fujita, 1973)
The classic “child of vengeance story”: a woman’s family is killed by four evil people, so she murders one and bears a child for the express purpose of having the remaining three killed. Kill Bill (2004) extensively references this film, but let’s not dwell on that. Instead, our attention should be focused on the intense shock edits demonstrating the revenge-obsessed psychology of the protagonist (cf Lone Wolf and Cub), the simple-yet-effective fight choreography (cf Seven Samurai) and the different philosophical paradigms embodied by the antagonists (cf El Topo). A masterwork of generic excess.
Les Vampires (dir. Louis Feuillade, 1915)
I remember watching this French serial back at the University of Iowa in the summer of 2001 and wanted to see if it was as good as my memory of it. It is. Though the pacing of individual scenes runs against modern viewer expectation (i.e., we spend a long time watching actors walking all the way into buildings, across roofs, etc.), the mise-en-scène is still quite stunning, with multiple fields of action and a coherent delineation between them all.
Weather Forecast: Dark Room, Glowing Screen
October 11, 2009
Reality
Imagine me in an auditorium listening to assorted bureaucrats tell us about our further studies at the HFF Konrad Wolf at Potsdam-Babelsberg, and then listening to professors introduce their specialties as well as high-quality past student films. Well, that was pretty much my week from 9:00 – 5:00 with little in-between. I feel bombarded with HFF film material, but I’ve also gathered many bits of interesting data about the school in the process. There are 550 matriculated students total at the HFF, and our entering class constitutes 100 of those. Of those who graduate, 80% will eventually work in television, and those 20% who work in film will likely never find full employment. The revered, top programs at the HFF seem to be the Production Design people (who have a 100% employment rate after their studies and are largely responsible for those fantastic Babelsberg sets over the decades) and the Animation people, who produce amazing work in cell and computer animation. In general, we have the latest technology in the media field and a vast institutional support system designed to train filmmakers to then go on the festival circuit with their films. This school knows what it does, and takes a very materialist, German craftsman-like approach to do that thing very well. We’ll see how we fare in media studies.
This week has been marked by a constant flow of a social life that had only existed in fits and starts earlier. On Wednesday night, all the media studies folks from the year ahead of us invited us out for a round of drinks at the Griebnitzsee Bahnhof, where I got to meet the committee that’s organizing the SehSüchte Student Film Festival in April. I’m very excited to be a part of that process in particular – I will be the editor of the English text publicity, such that I can keep the strange sounding sentences and the spelling of “Stop” with two “p”s to a minimum. On Thursday night, I met up with Florian Leitner, an author and media studies scholar whom I met a year ago at the Film and History conference. He took me to a very nice cocktail bar in Kreuzberg, and then to a Turkish diner where I had the best lentil soup I’ve ever tasted – an excellent evening! Friday night saw us media studies people (we maneuver as a pack) heading out as a group of 11 to Simon-Dach-Strasse in Friedrichshain. Let this be a lesson to all who read this: never go out as a group of 11 to a busy party street on a cold night and expect to find a table indoors. An hour after we’d met up, we finally crammed ourselves around a back table in the smokiest bar I’d ever been in and then chatted about Obama winning the Nobel Peace Prize and why Germans don’t marry (Political Science Answer: the society more or less actively discourages it). Two of the media studies people even got into one of those bar-none debates about religion, which was cute – it reminded me of college. Then on Saturday I met with Beverley Weber – who’s soaking up the Berlin experience for a month while working on her book – and toured Kreuzberg’s Bergmannstr. and Oranienstr. to good effect. I also visited Kira Thurman’s place in Prenzlauer Berg, which means I saw what amounted to a rainy block of that section of town. I think I’ll return when the weather permits me to.
More short Berlin experiences and observations:
* I’ve now been offered drugs on the street twice: once at the Kottbusser Tor U-Bahn station in Kreuzberg and once near the U-Bahn station at Eisenacherstr. in Schöneberg. Both had next to zero subtlety about the offer, which made me also surmise that they were police anyway.
* Fireworks were set off yesterday night over what looked like Südkreuz – a few giant explosions illuminating the sky over the Yorckstrasse S-Bahn station as I stepped off the train. Two high-school girls waited patiently until making sure they were over before exiting the platform. God only knows what the event was.
* Some extremely intoxicated dude was singing the Atzen label’s hit song “Das geht ab” and started petting the heads of nearby bystanders. I dodged it, but saw a fight nearly break out between someone whose head wasn’t open for petting.
(Note: I plan on having the next Peppersmoke Players chapter up tomorrow. It’s looking to be at least 50% longer than the previous two, as I had trouble ending the scene. So it goes!)
Fantasy
Inglourious Basterds (dir. Quentin Tarantino, USA/Germany 2009)
As a German film historian, I felt like I needed to see this because A) it was shot at Babelsberg studios, B) it takes a controversial, B-movie-style tactic of Nazi representation for an A-list feature, C) it contains a great deal of spoken German as well as some of Germany’s big-name stars playing, uh, Nazis, D) there is apparently a surfeit of homage to German film history, which means that this will quickly amount to the “mainstream” perspective on my subject area in due course, E) I wind up seeing all Tarantino’s work eventually and F) so many people have recommended I see it. As a keeper of the bizarre (and a bizarre keeper at that!), however, I always feel a little dirty after I see a Tarantino movie. It’s as if he’s shining a blindly venerating light on the zones where we film historians scuttle around in the dark, basically demonstrating that he’s had a first-class film education through his lifetime and, well, doesn’t really know what to do with it now. This is not to say I didn’t like the film; there were many moments of extended suspense and laudable sound/music design, etc. But Tarantino is also a man with a distinctly amoral aesthetic and message to propagate, effectively mirroring the withering ambivalence that we media consumers exhibit these days toward all things. This is a thermometer that tells us how and why we cheer for barbarism, but not a guidepost to point us to a culture that may not need to do so.
The movie itself is a work of immediate textual irony in that it stands against both its title and its paratexts (trailers, posters, etc.): the Inglourious Basterds barely turn up in the film, and though it is a violent film, it is not what I would call “action-packed.” Rather it is a relentless talkie – much like Deathproof (2007) – with endless dialogue scenes either ending in horrific violence or foreshadowing horrific violence to come. It is a film effectively about language above all else, both in terms of language as a marker of social distinction (think of the scenes involving Landa as well as the deathtrap tavern) as well as a thin mask for some horrible emerging truth, which may be Tarantino’s remotely insightful statement on the Holocaust here. More importantly for him, it’s also very much about the language of cinema, but as film geeks talk about it more than as auteurs like Godard, Lang, Ford, Hawks or anybody else would address it as such. Tarantino’s strategy is to talk a scene to death and throw in some film references throughout to make it appear as though he’s given it a lot of thought. I wouldn’t know: rather than visually referencing the films of Riefenstahl or Pabst like, say, a memorable shot from one of his favorite films of theirs, two characters just talk about them. Whereas some recent fringe feature films (Son of Rambow, The Fall, Hamlet 2) have opened up new critical vistas in my imagination and offered interpretative frameworks for said vistas, Inglourious Basterds seems to produce more banal answers than ask interesting questions … even though it is excessive and overwrought in precisely the way that his target audience knows and loves. I wouldn’t mind elaborating my points given further discussion.
The White Ribbon (dir. Michael Haneke, Austria/Germany 2009)
One of the perks of being at the HFF is getting movies funneled into us for free. Michael Haneke’s latest film The White Ribbon, which won the Palme d’Or at Cannes this year, is the second major treat (after seeing I Was 19 on 35mm) that I got the first week. The premise: A small town in Austria in 1913 is suddenly plagued by a series of mysterious accidents and deaths that expose the abusive, repressed underbelly of 19th Century continental European society. Haneke draws directly on the spare visual tradition of black-and-white German-language novel-to-film adaptations, including Schlöndorff’s The Young Törless (1966), Fassbinder’s Effi Briest (1974) and Haneke’s own The Rebellion (1993) to reveal an emotionally damaged, soulless community that offers few easy solutions to its problems. An absolute masterpiece of framing, lighting, production design and direction of young actors. People rave about this film for all kinds of reasons, but I stand firmly on the fact that it’s a 2.5 hour movie that you wouldn’t mind going on for another hour or two.
Fearless (dir. Ronny Yu, China 2006)
I had heard that this film is to date the top-selling non-English foreign film to circulate in the United States to date. Jet Li returns as Huo Yuanjia (whom he played in Fist of Legend), the founder of his beloved wushu martial art form, and plays out a version of his biography heavily interpreted through the lens of Jet Li’s own silly kung fu oeuvre. Though an intense battle in a darkened restaurant makes for an exciting action centerpiece, the film is on the whole quite sentimental and more than a little nationalistic (I’m thinking in a similar way to that which made the Bollywood musical Pardes unwatchable). All that is good about the style and content here is effectively borrowed from Fist of Legend and Fong Si Yuk, but the film possesses neither the edgy choreography of the former or the tongue-in-cheek quality of the latter. Thank goodness Jet Li’s made a few other movies since this one, so it would not be his last.
My Name is Nobody (dir. Tonino Valerii/Sergio Leone, Italian/French/West Germany 1973)
Possibly the most referential western of all time, My Name is Nobody came out during the last rays of sunset on the genre – Pauline Kael declared it “dead” a year later in ’74. Leone and Valerii effectively shot a buddy comedy grafted onto a mournful iteration of a Leone and/or Peckinpah western. The utterly weird combination of Terence Hill and Henry Fonda as our chief protagonists never really settles into any kind of groove, and there’s a shoot-out in a hall of mirrors that’s much more The Lady of Shanghai than “western” material. I would still give it a B+ for effort though: there are at least three jokes on the Nobody riff, including “Jack Beauregard – Nobody’s gun was faster.” Ha!
Film Binge
September 23, 2009
Reality
On Saturday, I visited the Museum für Film und Fernsehen in Potsdamer Platz. It is now a place with which I am thoroughly familiar: after 5.5 hours of me poring over every inch of every exhibit, they had to kick me out since they were closing. Of certain interest beyond original documents associated with films I know and love such as Joe May’s Asphalt, Fritz Lang’s Metropolis, etc., was a giant wall with nothing but TV screens containing post-war German directors and buttons one could push to see a sampling of their work. I loved it – I was able to get to know one or two new directors and their work in such a short time span! It’s quite clear, however, that the museum is primarily concerned with Marlene Dietrich, her legacy and her estate. They even had the Negerpuppe and the Chinesenpuppe that were featured in Sternberg’s The Blue Angel which she brought around with her for good luck. That’s going into my dissertation somewhere…
On Monday morning, I took a trip down to Potsdam-Babelsberg just to see what it was like. The film school itself blew me away: a giant four building structure encased in a cocoon of glass and bound together with assorted stairwells and catwalks. Of course, I was looking for a bureaucrat in that labyrinth, so I suddenly felt like I was in Brazil or something (don’t you know we imagine in movies now?). I would go up a stairwell and only reach half the offices on a floor, because the others were on the other side of the catwalk. In addition, you can check out films from the library and watch them in these weird little space-age pods that slide around in the lobby…
The only downside to the earlier part of this week? No Fulbright money yet to speak of, no good opportunity to get a Visa until after I register for classes (which I need a Visa to do ironically…), and with no money, little travel in and around the city. This should all change within a week or so, one hopes.
Fantasy
Signale – ein Weltraumabenteuer (1970, dir. Gottfried Kolditz)
I watched this East German stylistic riff on Stanley Kubrick’s 2001: A Space Odyssey late at night in the States, and I don’t remember finishing it then. Since it forms a core part of my dissertation research, I sat through it again and probably will do so once more in the future. Though I am a fan of Gottfried Kolditz and have seen most of his oeuvre, this film is one of his least successful productions by far. The plotline is this: the Ikarus spaceship is hit by an asteroid cluster and his badly damaged, such that the Laika has to mount a rescue mission to save the ship’s crew. I remember East German critics bashing this picture on account of it being a “space adventure without excitement,” and now I fully agree with them. The editing of the film is outright terrible, such that one has little orientation between assorted effects shots and where characters are positioned. And speaking of effects shots – these largely consist of the camera spinning like in 2001 and leaving it to our imagination that we’re in OUTER SPACE. For my dissertation though, the multicultural starship crew is a prime example of what I’m talking about in terms of the establishment of race hierarchies amidst an “equal” set of crew members. It is also interesting that the African-American expatriate Aubrey Pankey turns up as he did in Osceola: The Right Hand of Vengeance, again in a strange bit part.
Whisky mit Wodka (2009, dir. Andreas Dresen)
A thoroughly delightful film that also thoroughly references film history as well as the exigencies of filmmaking. Wolfgang Kohlhaase’s script is elegant in its simplicity: an alcoholic, aging film star Otto Kullberg (Henry Hübchen) proves unreliable in the eyes of the producer, so another actor Arno Runge (Markus Hering) is brought in on the set to shoot all of Kullberg’s scenes right after him in case the celebrity flakes out. Using a similar formula to Grill Point (Halbe Treppe, 2002) or Summer in Berlin (Sommer vorm Balkon, 2005), Dresen latches onto the complicated interpersonal relationships between not two but five main characters (the two actors, two actresses and the director) and explores those relationships to their logical conclusion. It does not matter what film material is used in the final cut – a question posed by the film and never answered – nor should the audience care. There are also some special moments for us East German film scholars in there, as Dresen cites Solo Sunny in a piano riff played by none other than the DEFA composer Günther Fischer, and there are several moments where Runge is asked about being from the East – even though he’s one of the few main actors NOT originally from the East. I felt fortunate to be one of four people in the theater to take it in, since the film isn’t that popular at Potsdamer Platz, apparently.
Read or Die OVAs (2001, dir. Kouji Masunari)
A recklessly paced set of three anime episodes if I ever saw one. Read or Die is part James Bond-style thriller, part superhero film, and part sci-fi: A secret organization associated with the British Library is charged with retrieving a lost Beethoven score before it is used to destroy the world. Fast-paced and drawing a great debt from the grandiose silly action foregrounded in my favorite anime of all, Giant Robo, the Read or Die OVAs are very cleverly staged and executed, with paper-manipulating hero The Paper performing dozens of neat superhero feats on her quest to save the world. My major criticism is, as I said earlier, in the pacing. The first two episodes establish a kind of pattern for what one thinks is a longer series, and then the plot is ramped into overdrive to resolve in the third episode. I’m thinking it was budget-related…
