My opinion on this film is, that it draws a very questionable image of people coming out of conditions of an immigration background in Germany and beyond that, it plays down violent behaviour, there is no obvious stance against acts of revenge, it shows an absurd relationship between human and religion and the screen play leaves too many gaps for a credible depiction of its acting characters.
I have seen a lot of films playing in a similar surrounding, but I cannot remember of a film burdened with so many stereotypes, even if those might be partly true. Costa is a drug-addicted small time criminal, whose life is noticeably slipping out of his hand. The character of Bobby is depicted very authentic: likewise a small time criminal on the rise, who boasts with doubtful achievements and watches out for his big chance. And finally, the character of Gabriel, which I am going to examine in the course of this review.
There are many movies and films with a comparable plot, for instance “Snatch”, “In China They Eat Dogs”, etc. In most comparable films, on condition that the minimum demands of a “good” film are fulfilled, the events and the main characters are overdrawn, in such an extent, that there is spread only an amusing entertainment, which is not to be taken serious by its spectators.
But this is not the intention of "Kurz und Schmerzlos". All characters are taken serious and the plot wants to gain a penetrating access to its viewers. It is exactly here, where the crucial deficit is to be found. To achieve a certain comprehensibility and an internal monologue in the viewers mind, the script ought to give more space to the precedenting development of Gabriel’s character. The fact, that he still lives at home and probable also lived at home before he got into detention in connection to the depiction of his fathers peaceful personality and his sisters way of living, which is very European for a family influenced by the Islam, are only hardly but rather not at all consistent with Gabriel’s outdated view on friendship, when he takes revenge on Muhamer. If you look at families with an immigration background which are connected to comparable deeds, like killing women for being together with a man, who is not accepted by the family or even only violent or criminal behaviour by the family’s sons like shown in "Kurz und Schmerzlos", there is almost every time a quite patriarchic upbringing and subsequent a domineering head of the family. Thus the depiction of Gabriel’s father is the most obvious inaccuracy in the whole film.
The vehement opposing to the request of resumption of his criminal past and the following behaviour, are likely to assume a purification, which he gained during his stay in prison. But in the course of the film, this will be revealed as only superficial and he has not got a realization, that the way he behaved was wrong. This circumstance alone is not to be assessed in a negative way, but the plot does not let enough space for the presentation of this substantial change and the inevitable internal conflict. Furthermore, the influence on the rehabilitation of Gabriel by his father is restricted on a few attempts to pray together, which are all refused by Gabriel, except in the end. Here, the script leaves a big dramaturgical gap, because the relationship between father and son regarding religion, would have been very interesting and important for the understanding of Gabriel’s character, instead of a few unnecessary and annoying dialogs. Thus Gabriel remains insignificant and is carried basically by the acting skills of Mehmet Kurtulus.
The cold-blooded execution of Muhamer, without questioning him about the circumstances of Bobbys death, is a reflection of Gabriel’s fall back into archaic behavioural patterns. But even if Gabriel had asked Muhamer about that incident, it is likely that he would have killed Muhamer in that intense situation, anyway. However, there will be a short examination of Bobbys death: He was pursed and attacked by Muhamer, but it was him who rashly raised his revolver and threatened his interceptor with the ultimate request to let him through. Besides, it is not obvious who pulled the trigger in the following fight. Therefore, it is not possible to blame someone alone for the death of Bobby. Regarding that Bobby has known, the risks as he got involved with the organized crime, it is his responsibility trying to fix the failed weapon deal and, for instance, to attempt to talk with Muhamer and to get the money back. The fact, that Bobby is responsible for himself, is taken into consideration by Alice, in fact, but finally it comes to that exaggerated act of self justice by Gabriel, even though Costa lied seriously injured in his arms and it is to be supposed that Gabriel has lost every motivation for further violence in the face of what violence and counter violence is able cause. There is no inner conflict leaking out and at the latest, this sequence should bring up an aversion against Gabriel. But for this the film leaves no space, unfortunately.
The last scene shows the father and his son doing an Islamic prayer, after Gabriel has turned away of his father’s religious way of living in the course of the film. In my opinion, this is a very absurd image of the relationship between human and religion, which stirs up reservations against Islamic fellow citizens in every attentive viewer’s mind. This is faded over skilfully by nice oriental music. Concerning this, it is to be marked, that this has another statement in the current political context, than ten years ago. But nevertheless, in a reasonable, intelligent and enlightened society, acts of revenge and self justice have never been compatible with an actual peace preaching religion.
I have seen a lot of films playing in a similar surrounding, but I cannot remember of a film burdened with so many stereotypes, even if those might be partly true. Costa is a drug-addicted small time criminal, whose life is noticeably slipping out of his hand. The character of Bobby is depicted very authentic: likewise a small time criminal on the rise, who boasts with doubtful achievements and watches out for his big chance. And finally, the character of Gabriel, which I am going to examine in the course of this review.
There are many movies and films with a comparable plot, for instance “Snatch”, “In China They Eat Dogs”, etc. In most comparable films, on condition that the minimum demands of a “good” film are fulfilled, the events and the main characters are overdrawn, in such an extent, that there is spread only an amusing entertainment, which is not to be taken serious by its spectators.
But this is not the intention of "Kurz und Schmerzlos". All characters are taken serious and the plot wants to gain a penetrating access to its viewers. It is exactly here, where the crucial deficit is to be found. To achieve a certain comprehensibility and an internal monologue in the viewers mind, the script ought to give more space to the precedenting development of Gabriel’s character. The fact, that he still lives at home and probable also lived at home before he got into detention in connection to the depiction of his fathers peaceful personality and his sisters way of living, which is very European for a family influenced by the Islam, are only hardly but rather not at all consistent with Gabriel’s outdated view on friendship, when he takes revenge on Muhamer. If you look at families with an immigration background which are connected to comparable deeds, like killing women for being together with a man, who is not accepted by the family or even only violent or criminal behaviour by the family’s sons like shown in "Kurz und Schmerzlos", there is almost every time a quite patriarchic upbringing and subsequent a domineering head of the family. Thus the depiction of Gabriel’s father is the most obvious inaccuracy in the whole film.
The vehement opposing to the request of resumption of his criminal past and the following behaviour, are likely to assume a purification, which he gained during his stay in prison. But in the course of the film, this will be revealed as only superficial and he has not got a realization, that the way he behaved was wrong. This circumstance alone is not to be assessed in a negative way, but the plot does not let enough space for the presentation of this substantial change and the inevitable internal conflict. Furthermore, the influence on the rehabilitation of Gabriel by his father is restricted on a few attempts to pray together, which are all refused by Gabriel, except in the end. Here, the script leaves a big dramaturgical gap, because the relationship between father and son regarding religion, would have been very interesting and important for the understanding of Gabriel’s character, instead of a few unnecessary and annoying dialogs. Thus Gabriel remains insignificant and is carried basically by the acting skills of Mehmet Kurtulus.
The cold-blooded execution of Muhamer, without questioning him about the circumstances of Bobbys death, is a reflection of Gabriel’s fall back into archaic behavioural patterns. But even if Gabriel had asked Muhamer about that incident, it is likely that he would have killed Muhamer in that intense situation, anyway. However, there will be a short examination of Bobbys death: He was pursed and attacked by Muhamer, but it was him who rashly raised his revolver and threatened his interceptor with the ultimate request to let him through. Besides, it is not obvious who pulled the trigger in the following fight. Therefore, it is not possible to blame someone alone for the death of Bobby. Regarding that Bobby has known, the risks as he got involved with the organized crime, it is his responsibility trying to fix the failed weapon deal and, for instance, to attempt to talk with Muhamer and to get the money back. The fact, that Bobby is responsible for himself, is taken into consideration by Alice, in fact, but finally it comes to that exaggerated act of self justice by Gabriel, even though Costa lied seriously injured in his arms and it is to be supposed that Gabriel has lost every motivation for further violence in the face of what violence and counter violence is able cause. There is no inner conflict leaking out and at the latest, this sequence should bring up an aversion against Gabriel. But for this the film leaves no space, unfortunately.
The last scene shows the father and his son doing an Islamic prayer, after Gabriel has turned away of his father’s religious way of living in the course of the film. In my opinion, this is a very absurd image of the relationship between human and religion, which stirs up reservations against Islamic fellow citizens in every attentive viewer’s mind. This is faded over skilfully by nice oriental music. Concerning this, it is to be marked, that this has another statement in the current political context, than ten years ago. But nevertheless, in a reasonable, intelligent and enlightened society, acts of revenge and self justice have never been compatible with an actual peace preaching religion.