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Das schweigende Klassenzimmer (2018)
A forgotten part of history
Das Schweigende Klassenzimmer is based on the real-life events of a class in East Germany in 1956 that decided to dedicate two minutes of silence as an act of support to the Hungarian uprising. This causes a massive reaction and the situation soon gets out of control.
It is a thought-provoking and eye-opening movie, as it brings to light a rather unknown or forgotten part of history, though it could have pushed even more towards that direction. Instead, it tries to take a more entertaining approach by simplyfying the socio-political commentary and balancing it with the dramatic elements. Also, the villains are one-dimensional and never get any proper development.
Mia Italida ap' tin Kypseli (1968)
Good laughs, questionable message
Mia Italida ap' tin Kipseli works fine as a comedy.
Antonis (Alekos Alexandrakis) is witty and effortlessly charming, though the laughs are mostly provided by the supporting characters, Polikratis (Giannis Vogiatzis) the eternal loser, Roro (Elektra Kalamidou), exuberant and full of heart, and John Parker (Giorgos Gavriilidis), naive and out of touch with reality.
The main complaint to be made about this movie is that it tries too hard to force its message, namely that Greek women are superior to foreigners. Not only does the plot involve painting the image of a - supposed to be - Italian woman with dark colours, so that Greek women appear better in comparison, it also introduces Rene (Keti Papanika), a French woman with questionable morals.
Mein liebster Feind - Klaus Kinski (1999)
Herzog and Kinski
Mein liebster Feind tells the story of the love-hate relationship between director Werner Herzog and actor Klaus Kinski. That unique collaboration is its main difference compared to other biographies, it doesn't glorify the situation or restrict itself to the good days, it also shows the ugly side, which is arguably the most interesting part, how they made it work and ended up doing 5 movies together.
Herzog revisits some of the iconic filming locations, recalls various wild incidents that took place during shooting and talks with some people that worked with Kinski. It was surprising to hear from his co-stars Eva Mattes and Claudia Cardinale how caring and friendly he could be.
Die Sehnsucht der Veronika Voss (1982)
Chasing the past
Veronika Voss (Rosel Zech) is used to being in the spotlight, a movie star of the highest calibre. Nowadays, though, she can't accept that the glory days are behind her, nostalgia becomes insufferable and the only cure is drugs, allowing her to escape to a world that will never become real again, it only lives in dreams and memories. Dr. Marianne Katz (Annemarie Düringer) views her as a goldmine and exploits her obsession, while Robert Krohn (Hilmar Thate) desperately tries to save her.
Apart from the obvious Sunset Blvd. Influence, the movie is also based on the life of German actress Sybille Schmitz. It's also a part of Fassbinder's unique trilogy. Compared to Lola, it's an equally heartbreaking drama, though the socio-politcal commentary isn't as direct or clear.
The movie is highly stylish, thanks to -among others - the use of black and white that takes the viewer back to classic Hollywood, the sets, especially the mysterious clinic and the otherworldly villa, alongside the always fitting music.
Die bitteren Tränen der Petra von Kant (1972)
Experimental melodrama
Rainer Werner Fassbinder has used pretty dark colours to paint images of the German society and the German family. This time he focuses on human relationships, especially the romantic ones, and portrays them as an endless circle of pain and suffering, one part always exploiting the feelings of the other.
This has a devastating effect on Petra von Kant (Margit Carstensen) who meets her match in Karin Thimm (Hanna Schygulla) and realises that, for once, she is the one who is being exploited and not the one who exploits.
This is the kind of movie that is difficult for the average viewer, but fascinating for a student, as it features many interesting parts that provide food for thought. The wonderful cast is all-female and there is one character, Marlene (Irm Hermann) that is present in literally every scene yet doesn't have a single line of dialogue in the entire movie. It all takes place in one room, though that one set is visually striking and combined with the crazy costumes creates a surreal, captivating setting. There's no music during about 90% of the movie, but when it finally appears, it sure makes an impression. The dialogue is masterfully filmed, a lesson in long takes, framing and blocking. The structure is theatrical, it consists of five scenes/acts with Petra wearing a different wig in each of them and no wig in the last.
Lili Marleen (1981)
Love in times of war
Even though Lili Marleen's events take place right before, during and up to the end of World War II, it is a movie centered around people and their feelings in typical Fassbinder fashion.
It is the story of Willie (played by the stunning Hanna Schygulla) and with her the story of Nazi Germany that follows a similar trajectory. She is a German that tries to make a living in Zurich as a singer/cabaret artist and falls in love with Robert (Giancarlo Giannini), a Jew and member of the anti-Nazi resistance camp. His family doesn't approve of their relationship, because she is German/Aryan and make sure they go their separate ways after her deportation. Back in Germany, she must find a way to survive and, seemingly out of nowhere, her song "Lili Marleen" becomes a monumental hit, a source of inspiration and courage for every German soldier, which brings Willie in a tricky spot, as it becomes harder and harder to maintain the balance between collaborating with the Nazis in an artistic level and taking part in the resistance against them all the while hoping for a reunion with Robert which seems more and more unlikely.
An interesting element of the movie is that it presents both sides in a nuanced way, it avoids portraying the Nazis as the one-dimensional caricature villains. It also shows how thin the lines are and how hard it can be to fight prejudice and shake off a social or political stigma.
And of course the song itself deserves its legendary status.
Nosferatu - Phantom der Nacht (1979)
Herzog's homage to Murnau
Nosferatu - Phantom der Nacht is a worthy spiritual successor to Nosferatu, eine Symphonie des Grauens.
This should be its greatest asset, as they share many of the qualities that make the latter an absolute classic. It isn't scary in the traditional sense. Instead, it focuses on building an atmosphere of eeriness and uneasiness, based on a series of powerful and memorable images thanks to filming locations, set design, the use of colour, lighting, shadows and of course the man himself Klaus Kinski who leaves his infamous persona out of it and offers us a surprisingly relatable version of Dracula, who appears more as a tragic figure than a villain.
On the other hand, this is also the movie's biggest weakness, as it lacks in originality and it's not exactly clear what its point is. The 1922 version holds up just fine, it wasn't in any need of a remake.
Rescue Dawn (2006)
A hopeless fight for survival
The struggle of man against nature, an ultimately unfair fight that ends up seriously threatening the man's sanity is a typical theme in Werner Herzog's movies and Rescue Dawn offers one of the most extreme versions, taking place during the Vietnam War.
The movie's strength lies in its realism, it shows the painfully ugly side of the war and doesn't glorify anything. The setting is also crucial for adding a sense of hopelessness to the Prisoners' of War fight for survival. The jungle is majestic but full of pitfalls, a graveyard in the making.
Christian Bale goes through an impressive physical transformation, which becomes second nature for him, as he had already done something similar for The Machinist a couple of years back, but there's much more to his powerful performance.
All the above give the movie a documentarish feel, which makes even more sense considering that it is based on a true story. On the other hand, it means that it's a difficult watching experience, the entertainment value drops significantly, there's hardly any suspense and one pretty much knows how things will end.
Another thing that has been heavily debated is the historical inaccuracy, though I'm definitely not qualified to comment on that.
Angst vor der Angst (1975)
A woman that loses touch with family, society and reality
Fassbinder paints the image of a typical family with rather dark colours.
The mother-in-law and the sister-in-law are always nosing around, looking for a chance to point their finger at the wife. The husband is busy working and preparing for an exam, so he barely has any time for his wife, they are worlds apart.
The main focus, though, is the wife herself, Margot. She develops an unfounded - the birth of her second child is the trigger, maybe because it makes her realise how alienated she is from her family and society in general. Her children are her final shelter, but when her daugther wants to visit her grandmother, not to mention when it's time for her to go to the kindergarden, she thinks that not even them are an ever reliable source of love. That's especially evident when she tells her daughter that it would be so much better if she were older, so that they could communicate, which is exactly what she can't do right now, there's no one that gets her - and uncontrollable fear and that's only the start of her problems. Addiction to Valium, alcohol abuse and infidelity are all on the menu - the latter being a means to exploit the pharmacist and gain access to more drugs. None of those provide any comfort, not even the professionals can contribute meaningfully. One makes a schizophrenia diagnosis, while another one completely rejects that notion and finds her depressed but healthy. In short, no cure on the horizon. The only momentary relief comes every time she randomly meets Herr Bauer, a fellow mentally ill person, because he acts as a point of reference that makes her feel better for herself. That's why his suicide was good news for her.
The intense portrayal of her descent into madness is achieved through the camera work (such as the Point of View shots where Margot's vision gets blurry or the frequent mirror shots or the dramatic close ups), the use of music and of course Margit Carstensen's performance.
The movie also features some cool framing, for example when Margot walks the street in front of the pharmacy and we watch her from a window. Another noteworthy and surprising factor is the occasional comedic moment, considering how dark the plot is.
Lola (1981)
A visually striking combination of heartbreaking drama and sharp socio-political commentary
Lola is a heartbreaking drama, reminiscent of the classic German movie Der blaue Engel, which actually was the maini source of inspiration, but at the same time a sharp socio-political commentary on post-war West Germany and the so called Wirtschaftswunder (economic miracle).
Von Bohm (Armin Mueller-Stahl) arrives in a small city and assumes the office of the building commissioner. His goal is to promote building and economic growth without compromising his integrity but things take an unpredictable turn after he meets Lola (Barbara Sukowa), who is a cabaret artist, desperate to escape her miserable life and become accepted as a member of the upper class, but he has no idea. As a result, his romantic adventure that soon becomes an obsession directly affects his fight against corruption and "the system".
There is a variety of contrasts that form the foundation of the movie and provide food for thought: mind/reason and soul/emotions, bureaucracy/legality and capitalism/progress, tradtional and modern, elite and pleb, real and fake identity, private life and professional life, theory and action, realism and idealism.
The movie also stands out thanks to its visually striking portrayal of the '50s, the colours, the lighting, the set design, it's all a sight to behold.
Katzelmacher (1969)
Social commentary on racism done in an artistic way
Katzelmacher follows a group of young people with no purpose in their lives whatsoever, they simply waste their time without doing anything meaningful. However, it's not until Jorgos arrives, a Greek immigrant played by Rainer Werner Fassbinder himself, that their disgusting personalities unfold in all their glory. The only exception is Marie (Hanna Schygulla), whose compassion for Yorgos and their relationship provides the only warming moment. That's when the movie turns into a prophetic social commentary on themes such as racism, xenophobia or the power of rumour and prejudice.
Fassbinder adopts an artistic/experimental style. Examples of that would be the use of black and white, the camera that doesn't move or the repetition of variations of the same scene. All of that leads to the movie being - intentionally so - just like its characters' lives, dull and frustrating.
Der blaue Engel (1930)
From Professor to Clown
Reputable professor Rath (Emil Jannings) visits a night club to inspect what draws his student there. Instead of helping them escape, he falls for the main star of the show, Lola Lola (Marlene Dietrich), which leads him to losing essentially everyting: his mind, his job, his dignity, etc. He becomes a clown, figuratively and literally.
Der blaue Engel is mostly memorable for Marlene Dietrich's dazzling presence and her iconic songs, which is justified, but there's much more to it. Emil Jannings is just as crucial. After all, the central theme of the movie is the professor's downfall and he does a great job at making the audience really care for his character and empathise with his tragicomic story, his breakdown towards the end where he starts crowing like a rooster is strikingly brutal. That's another major asset of the movie, how it manages to be both funny and sad.
The scenes at the night club are fascinating, there's a hypnotic, irresistible atmosphere with touches of the famous German Expressionsim, though the most powerful image of the movie is undoubtedly the final shot, where the professor returns to his old classroom, sits on his old chair, alone and damaged beyond repair.
Queen of the Desert (2015)
Different Herzog
Queen of the Desert is far from the typical Werner Herzog movie. The struggle of man (in this case woman) against nature is present here. The difference is that the main character is female and her seemingly impossible task doesn't come off as hubris nor does it lead her to losing touch with reality.
The obvious complaint is that Gertrude Bell (Nicole Kidman) was too interesting of a character to focus that much on the romantic aspects of her life, there was so much more that could have been done. Still, the rest of it makes for a dazzling adventure in no small part thanks to the exotic, majestic landscapes.
Pollock (2000)
Tortured artist
Maybe it's because I didn't know who Jackson Pollock is, or maybe it's because after I saw some of his work I realised I'm not qualified enough to understand its greatness or maybe it's because it's not clear what caused him to be in this state of mind - when the movie starts he is already suffering - but the point is I wasn't really invested in Pollock's character. Admittedly things got better as the movie progressed, but by the time things got going it was halfway over.
Still, the movie offers an interesting insight into the creative process and how following your passion can be a means to escape the harsh reality and your troubles. Ed Harris does a great job in that regard, he captures the spirit of the tortured artist and shows that the only place where he is safe from his demons is his paintings.
Woyzeck (1979)
Kinski at his most relatable
One impressive thing about this movie is the contrast between the peaceful setting, based on an idyllic village paired with gorgeous landscapes that showcase the beauty of nature in all its glory, and the dark story. Woyzeck is the most relatable character Klaus Kinski has portrayed in a Werner Herzog movie. He is a simple man who just can't catch a break and is losing touch with reality, it is only a matter of time before all hell breaks loose. There are many memorable scenes in this one-way journey to madness, such as his conversation with his Captain while he shaves him, his interactions with his Doctor, who uses him for scientific research, his confrontation with his mistress and her lover, his hallucinations and of course the epic climax, the murder scene. Kinski is the right man for this role and delivers a powerhouse of a performance.
The Bad Lieutenant: Port of Call - New Orleans (2009)
Herzog and Cage - the duo we didn't know we needed
Terence McDonagh (Nicolas Cage) is a skilled cop, but, in typical fashion for a character in a Werner Herzog movie, chooses the wrong path whenever he gets the chance and dives deeper and deeper in the abyss. Cocaine, gambling, stealing evidence, abuse of power, rape, corruption, the menu is impressive.
The comparisons to the Coen Brothers certainly have a point, a dark comedy where the plot takes many surreal turns accompanied by a parade of weird characters.
The movie is character driven, as it is focused on Terrence's downfall and the plot is rather secondary, so it couldn't work without Cage's performance who really goes all in and proves he is the man for such a role.
There are some memorable images during Terrence's trips, such as the alligator, the iguana or the dancing soul.
Cobra Verde (1987)
An ode to insanity
Compared to Aguirre or Fitzcarraldo, Cobra Verde isn't delusional because of his grand visions, for example finding El Dorado or building an opera in the jungle, he is simply out of his mind which leads him to some wild adventures that in turn make him lose it even more. Another difference compared to the aforementioned movies is that Klaus Kinski's character isn't the only one in this state of mind, as Werner Herzog builds an entire world where pretty much everyone is a lunatic. This time it's Africa instead of South America, but the exotic filming locations still create many impressive and highly memorable images.
Fitzcarraldo (1982)
Werner Herzog's gigantic conception
Brian Sweeney Fitzgerald (Klaus Kinski) is a man who follows his vision with a passion and is determined to actualise it, no matter if the odds are severely against him. Compared to Aguirre, the wrath of God, however, Werner Herzog comes up with an even more gigantic conception. Brian wants to build an opera in the jungle. He lacks the resources to do so, meaning he must get involved in a business that requires carrying a ship above a mountain. Brian is nowhere near as unlikeable as Aguirre, but at the same time it's really hard to relate with his obsession that hardly makes sense to any reasonable person. The rest of the characters are of no interest either, as they never get any chance of development whatsoever. Another factor that makes it a difficult watching experience is how slow it is and without any real point behind this approach.
On the other hand, Fitzcarraldo makes the most of its filming locations and offers the audience a series of breathtaking landscapes.
Radio (2003)
A simple but powerful message of humanity
Radio (Cuba Gooding Jr.) is a mentally challenged young man who roams the town all day with no real purpose. Coach Jones (Ed Harris) decides to take him under his wing, as he makes him a member of the football team and later gets him to join high school as well. Despite the difficulties they meet along the way, this has a hugely positive impact on Radio, as he finally belongs somewhere and his life now has a meaning.
Radio is too simple and too predictable but it has such a big heart that will touch anyone, as long as you accept it for what it is: a sweet, warm, innocent, unashamedly feel-good movie that shows how a little bit of kindness and compassion goes a long way.
Kudos to the two leads, the movie is based on the relationship between the two main characters and it couldn't have worked without their performances.
Green Book (2018)
So if I'm not *black* enough and if I'm not *white* enough, and not *man* enough, then tell me, Tony, what am I?
Two people of different race and cultural background find themselves in an employer-employee relationship that eventually turns into much more than that, as their connection deeply affects both of them, changes their perspective on various aspects of life and they end up becoming friends. The main concept is familiar and has been done before (for example in Driving Miss Daisy or Intouchables) but still Green Book has plenty to offer.
The interactions between the two main characters is what makes the movie stand out and that's in no small part thanks to great performances by Viggo Mortensen and Mahershala Ali and the chemistry between them. The former goes through an impressive physical transformation in his portrayal of a simple, passionate, short-tempered man who loves his family and always finds a way to get out of trouble. The latter finds a balance between appearing cool and classy on the outside and being deeply wounded on the inside, as no place seems to exist where he can fit in.
Despite the socially conscious nature of the movie, the comedic parts are just as strong as the dramatic ones, the orphans/Orpheus scene being a fine example. It is no easy task to be touching and funny at the same time, but this movie does a very good job at that.
Green Book features gorgeous landscapes, as any self-respecting road movie should.
And it flows quite nicely, there's not a single dull moment in its running time of more than two hours.
Aguirre, der Zorn Gottes (1972)
Accident waiting to happen
Werner Herzog is in love with the landscapes of Peru and expresses it via his long takes, but it's hard to complain about it, they really are a sight to behold. And they serve a point beyond showing off, as the movie depends on its atmosphere of inescapable doom more than it does on its slow-moving plot or its sparse narrative, dialogue and character development, which all take a back seat.
Namely, it shows that a wild setting causes people to act wild. Don Lope de Aguirre (Klaus Kinski) is a prime example of that, one of the most unlikeable main characters in the history of cinema. A member of a mission of Spanish conquistadors, blinded by his ambition, he is determined to find El Dorado and repeatedly commits hubris, nothing will stand in the way.
Kohayagawa-ke no aki (1961)
Typical Ozu
The End of Summer is in many ways a typical Yasujiro Ozu movie. This includes both his trademark visual style, the fine balance between comedy and tragedy and the exploration of his favourite themes such as family, marriage, generational conflict, aging, the contrast between modern and traditional, etc.
However, there was someting missing in this one. It's not perfectly clear what it is, but it probably has to do with the characters. There's too many of them, so they don't get the necessary screen time to form a bond with the audience. As a result, they don't come off as interesting or engaging and this makes it harder for the viewer to shake off the feeling that he has already watched another similar but better variation of this movie, leading to a rather dull outcome.
Ukigusa (1959)
The epitome of simplicity
Ukigusa's plot is really simple. Komajuro (Ganjirô Nakamura) must deal with the jealousy of his partner Sumiko (Machiko Kyô) when the theatrical troupe he leads visits the village where his former partner Oyoshi (Haruko Sugimura) and their son Kiyoshi (Hiroshi Kawaguchi) live. Sumiko is the one who initiates the second sub-plot as well, when she pays Kayo (Ayako Wakao) to seduce Kioyshi. The movie has a lighter side, too, which revolves around the supporting actors' attempts at romantic adventures with local women.
The movie stands out thanks to its atmosphere. The camera doesn't move even during the dramatic moments (a brilliant example of Ozu's style would be the confrontation between Komajuro and Sumiko, where they stand on opposite sides of the street with the rain separating them, an all-time great scene), the colours are gentle and the serene village makes an ideal setting that absorbs the viewer and allows him to take part in everyday, routine activities next to the deeply human characters.
The whole cast deserves credit for their performances, restrained yet on-point, but it's Machiko Kyô who steals the show with her captivating presence.
Bis ans Ende der Welt (1991)
Wenders' magnum opus
Bis ans Ende der Welt is an original and fascinating adventure with a little bit of everything: road movie, action, thriller, mystery, romance, sci-fi, even a touch of comedy. It creates a hypnotising, slightly surreal, Lynchian feel, where nothing quite makes sense but still draws the viewer in, who can't resist asking for more. Some parts are stronger than others, but it's hard to criticise anything about it, it's better to enjoy the ride alongside a parade of colourful characters. The cinematography is breathtaking, making the most of filming locations (Italy, France, Germany, Portugal, Russia, Japan, USA and Australia among others). The last part changes gears and takes a more philosophical direction, a study on various subjects such as human nature, society, technology, loss, addiction, etc.
On a final note, please do yourself a favour and watch the 287-minute director's cut.
Race (2016)
Sticks to the good times and plays it safe
Race has many things going for it. It tells the story of Jesse Owens, an exceptional athlete and an extremely inspirational figure. It does a great job in taking you back to the '30s, the stadium/racing scenes are excellently filmed and it shows that racism was a thing in both sides of the Atlantic.
On the other hand, it has to be said that it plays it safe and remains too basic of a biography. Even though it's quite long, it doesn't allow us to go beyond the surface and really know Jesse. It tries to cover too much ground and misses the point, which was the man himself. Some parts of it, namely both the Leni Riefenstahl and the Avery Brundage subplots were hardly related to Jesse and took way too much screen time, not to mention that these two characters were presented in a way that apparently has little to do with reality, they could have been the subject of a different movie. Also, it sticks to the good times and skips the entire period after his triumph, which was just as interesting if not even more.