Tuesday, September 28, 2010

Footjob movie

interview with director Oskar Roehler, the film "Jud Suess - film Double Indemnity"

Even if the German film - has "Jud Suess film without a conscience" content not directly related to my specialization in this blog, there can generally from the perspective the critic considered that a look at the intentions of the makers are enriching is. That is why I publish here my interview and the accompanying film criticism:




conversation with Oskar Roehler in Taschenberg Palais Dresden on 23.9.2010


question I have the movie - understood ( "Jud Suess movie without conscience" ) more as a film about the person Ferdinand Marian, as the history of the development of the film "Jud Süss". For me it is the unifying theme under which it is the People set apart, or rather, its influence. As you watch your weight?

Oskar Roehler: would not say that I am now, but we've obviously thought about what type than man, as what kind of character we display the Marian. It even gave the "Mephisto" (by Klaus Mann, filmed in 1981, with Klaus Maria Brandauer in the lead role) , who had an enormous intelligence and a corresponding background, as Göring had kept him virtually. Marian other hand, can go through as the average person. He is someone who is not particularly intelligent, which was not sponsored and has a family - and also lives in very modern, as we live in today. He is an average guy and he would have been certainly could create a negative, but that would then become a different film.
Many accusations with which I was confronted, would have refuted on closer inspection this characterization, even. There was always the accusation that I had invented the half-Jewish wife who will be sympathetic to Marian leave or increase the pressure on him, but if Goebbels said, you are now playing that role, then only remained the possibility of the rope to take or to emigrate. Or you just made.
fascinating about these allegations, as they are cooked again extremely high. This is related to that of Nazi history in this country, has an insane agenda. Anyone who is halfway historically interesting to know to hold an incredible amount - in other words, it is not an innocent subject. This creates the absurdity that it is the knowledge of other people have to work off, even just because the critics are no longer able to watch a film without reservation. This is NOT a scientific discourse.

question is striking in this context yes, that although always expressed the accusation with the half-Jewish wife, yet overlooked, is that they take in many details freedoms - so let Goebbels, the "Othello" - prohibit performance, although Marian actually as "Iago" successful had occurred. In addition, he was not alone in the car when he drove into a tree, but two were still there ...

Oskar Roehler: ... do not know which one exactly.

question I will express that at some uncertain facts and rarely present comprehensive knowledge of Marian's life, a poking around on some details, the film corresponds to little addition to the normal viewer will not know much about Ferdinand Marian, and the making of the film "Jud Süss". I'm interested in whether they thought the figure generally well placed in modernity, as a statement of seduction under the pressure of the dictatorship, and thus not as a shift in his time "Bio-Pic?

Oskar Roehler: That is indeed exactly what not to do it. "Bio-pics" are definitely a theme in itself, but I would not turn out to Marian general as a person who we wanted to be modern. From the beginning, when I talked with Moritz Bleibtreu the role of Goebbels, we thought that Berlusconi is still in his body language very similar. For instance, in his appearances, in which it can be accompanied by leggy blondes and all jovial beats on the shoulder. I do not know if Moritz, this gesture has been when I watch his hand Berlusconi ...

question The constant promiscuity of those involved in the film recalls the present.

Oskar Roehler: This personality structure for example, plays on a figure like Reiner Barschel that has already been touted as a future candidate for chancellor, and then was found dead in his hotel bathtub. This has to do with a certain type of politician - which we found very exciting and what corresponded to our concept, for which we have often been attacked - we wanted to represent in the modern garb of an ancient society. I find it much more elegant than today's politicians like Angela Merkel to demonstrate - that would be trivial for me - but the show in a much more tragic, historical context, give the same time a special, expensive-looking note, the highlight of the symbolizes power. Today submits Approaching the Judgement of various talent shows, but who wanted to make it big during the 3rd Reich, the even had no other choice than to go to Joseph Goebbels.

question It is of course a risk, a figure like Goebbels, and a film like "Jud Süss" use of these modern aspects, since they are strongly held by their time.

Oskar Roehler: is at least done so, but I think that most of the exact behavior of Goebbels is not really present.

question from a journalist: you was in this context accused of Moritz Bleibtreu the Goebbels always uniform plays, whether officially or privately.

Oskar Roehler: There is no private scene with Goebbels in the movie. This accusation is false and is based on not just to look. They are all public performances, the talks with Marian. He presents himself more as a representative of power in public. And it remains an actor who plays such a role, nothing else left but follow through this number. I say this not as a justification, but I think that's good. And if you watch the audience, then you can see that they like it and that they are happy, Goebbels to finally see again.
But not because it is Goebbels or a political image has been distorted, but because it is the most fun movie to go to it eventually. Goebbels is one of, if you come out, have a false opinion because it is a key scene, which is one of my favorite scenes. That's when he really shows his true colors and stops in front of the journalists his tirades against the Jews. This is extremely serious and incredibly well acted, so that it runs an ice cold down the back. At that moment, Moritz far away from the parvenu, he shows otherwise. is
for me at all Criticism, the key question is whether the freedoms that we take the picture of that time influenced, whether positive or negative sense.

question The impression that you trivialize anything in the movie was not for me.

Oskar Roehler: This is the only point at issue to me - with whatever you feel is out of the film. When I saw the movie (at the Berlinale) on the big screen, I realized that the film is quite aggressive and powerful came along, and recognized the viewer. Maybe some of them also have felt raped. This is a psychological moment, I have not really questioned before ...

question I find that your style. I will not say that he is not in the detail is subtle, but overall he seems more vigorous, sometimes with the hammer method, therefore coming ...

Oskar Roehler: This is my style. Had a different director staged the screenplay, the film certainly would have looked different. I like to overshoot, in part, the over-subscription because something Exemplary of the figure shows, low peel can be more than if you always in the same Realism is boring. It bores people even now. I really feel, especially on the young audience that they liked the film. They are therefore not so critical, just because they are not as dogmatic as regards the historical details.

question A subtle detail is I also have come. Multiple leave them in various forms, the song "The wind told me a song" from "La Habanera" (1937, directed by Detlef Sierck) sound by Ferdinand Marian plays an opposite role - only a negative character, which in the end turns out to be the most authentic.

Oskar Roehler: This is his song. The melody is a kind of death that accompanies him in the dark for him running film in which he in "La Habanera" also shines. No matter what he played, he was always found some way good. He had many facets, but had his role in "Jud Süss" probably misjudged himself. He had actually said about himself that he would try to breathe human characteristics to the Jew, to represent him likeable. But whether he was subject to a delusion or the widespread until later, I can not say. Only in 1940 did no one that the National Socialism would not last many more years, so he was probably also a careerist and an opportunist who only felt that he would not get rid of the role as a Jew.

question The figure of the director Veit Harlan however, plays no special role?

Oskar Roehler: pity. We can unfortunately not all be accommodated in a movie. The thing about Harlan was no longer there. One would have to give him one or two pointers, only one would have then have to really deal with his fate. He was a dubious character, but we wanted to not even begin ...

question pity to the good performers.

Oskar Roehler: Yes, Dohnanyi fantastic. Although it is one of the most unlikely scenes, but also one of my favorite scenes, when the audition of Marian, continued to send them after a set back.

question of a journalist: you have watched the original film "Jud Süss". With what feelings they have gone after seeing the first out?

Oskar Roehler: I was extremely surprised how well and how exciting it is still today. He has aged not bad, in Contrast to 99.9% of all films from the period, inclusive of entertainment films. Propaganda films you can not even see at all. For some strange reason that has many causes, does this film. That was really my first impression.
If it even looked dramatic, there is no scene is superfluous. The film is basically on three levels - first, the archaic level with the innocent blond girl, who is married to the Schiller's ideal performer, and later at the political level, where he tried his people to get to Stuttgart in and hypocritical and treacherous ensnared the Duke , and then on a more abstract level, the major Goebbels was influenced by where one hears casually in a dark corner of a synagogue, now belongs to us Stuttgart, Baden-Wuerttemberg all morning, in spirit, we have lined up to apply for world domination. Falling, but people notice it at first viewing did not. It happens subliminally.

question: why has it surprises me that people react in the film after watching with direct hatred. The fact that the film has a rather roundabout way, I imagine the reaction of the audience of late and sustainability. This is done by the danger of this film.

Oskar Roehler: This could have been even do it. For me, the movie stirs up but, as in the showdown of the last 20 minutes, already the people's anger of the audience. If in the end the "Jew, Jew" is screaming because of a real-ass is to happen. Although he carries the dead in the water on his arm in a lock. That's an appeal to the viewers of the film. I would like to show how the film was later developed. We have focused on Marian, but in hindsight I would have to to see what effect this film has shown in Europe yet unfolded.

questions and recording Udo Rotenberg, Dresden

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