Tag Archives: German

Canonically Weird (The List)

214. DER SAMURAI (2014)

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“…there seems to be some sort of secret anarchic urge within me to see the monsters set loose and rampantly reclaim what’s theirs, to witness them bringing back some wonder and excitement into a world so controlled by order and reason that it at times threatens to suffocate all sense of joy and opportunity.”–Till Kleinert

DIRECTED BY: Till Kleinert

FEATURING: Michel Diercks, 

PLOT: Young policeman Jakob deals with a wolf menacing his rural east German village by placing bags of butcher scraps in the woods, hoping to lure the predator away from inhabited areas. One night he receives a mysterious package which he is instructed to deliver to an abandoned house; inside the home is a man in a dress who unwraps the package to reveal a samurai’s katana. The transvestite then runs into the night, where he embarks on a campaign of murder and mayhem which Jakob must put to an end.

Still from Der Samurai (2014)

BACKGROUND:

  • Der Samurai is Till Kleinert’s directorial debut, and his graduation project for the German Film and Television Academy.
  • The film was denied a government funding grant because it was deemed “incompatible with the taste guidelines of German public television.” Much of the budget was instead raised through a crowdfunding campaign.

INDELIBLE IMAGE: When your movie stars a blond-haired samurai in a floor length backless white party dress, you have a good idea what the indelible image is going to be.

THREE WEIRD THINGS: Transvestite samurai; flamingo punch; explosive decapitation

WHAT MAKES IT WEIRD: Exploring the weirdness in queerness, Der Samurai is a primal confrontation with the Other, embodied in the person of a wolf man come to life as a dress-wearing, sword-wielding maniac who taunts a repressed country policeman into a confrontation with his own desires.


Original trailer for Der Samurai

COMMENTS: Jakob’s long duel with a mysterious cross-dressing Continue reading 214. DER SAMURAI (2014) →

Capsules

CAPSULE: NEKROMANTIK 2 (1991)

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DIRECTED BY:

FEATURING: , Mark Reeder

PLOT: A young woman digs up a corpse with the intention of making him her lover; romantic complications arise when she falls for a living man.

Still from Nekromantik 2 (1990)

WHY IT WON’T MAKE THE LIST: Nekromantik 2 is disconcerting, at times graphic and difficult to look at, but it is not that weird.

COMMENTS: According to Wikipedia, “necrophilia, also called thanatophilia, is a sexual attraction or sexual act involving corpses. The attraction is classified as a paraphilia by the Diagnostic and Statistical Manual (DSM) of the American Psychiatric Association. The term was coined by the Belgian alienist Joseph Guislain, who first used it in a lecture in 1850. It derives from the Greek words nekros; ‘dead’ and philia; ‘love’.” Even Disney would have difficulty making family-friendly fare based on the subject of “dead love.” German director Jörg Buttgereit had no intention of making a family film, of course. The original Nekromantik was banned in several countries.

Nekromantik 2 begins where the first one ended. Robert Schmadtke’s graphic and gruesome suicide is replayed during the credits. He stabs himself repeatedly in the stomach as his exposed erection ejaculates fountains of semen. We are then taken to a graveyard where we see a young woman digging up Robert’s corpse. She is a nurse named Monica who intends to make Robert her lover. No time is wasted establishing the premise. Monica, eluding detection, wheels Robert’s rotting corpse into her apartment. Once in the privacy of her abode she begins to fondle, kiss and undress Robert before mounting him.

The viewer is treated to a trippy slow motion scene of Monica’s coital experience. Soon she is running to the bathroom to vomit. Could it be her aversion to her own depravity making her physically ill? It seems unlikely. Monica’s character makes no apologies for her actions throughout the film. The character is not empathetic, she is a strong, independent woman obsessed with death, who also happens to have an affinity for sex with corpses. It is more likely the licking, sucking and kissing of a rotting, oozing, embalming fluid-filled corpse that is making her vomit. Robert is one nasty, icky looking corpse! The gore effects across the board were all properly gag-worthy and effective.

Enter Mark: a shy, awkward loner who does voiceovers for adult films. When a friend fails to meet him at the theater he offers the extra ticket to Monika as she happens by. The two see a black and white art film where a naked couple sit at a table covered in hard boiled eggs discussing birds. (This is apparently a cheeky wink to ‘s My Dinner with Andre). Mark and Monica hit it off and are soon dating. Mark falls hard for Monica, and tries to ignore her Continue reading CAPSULE: NEKROMANTIK 2 (1991) →

List Candidates

LIST CANDIDATE: DER TODESKING [THE DEATH KING] (1990)

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DIRECTED BY:

FEATURING: Due to the episodic nature of the film, too many to list

PLOT: The Death King is a seven-part film with no overarching plot—each of the episodes is a vignette involving suicide, murder, and sometimes both. The events may take place over the course of a week (Monday through Sunday), with some tied together by the letters sent through the post by Monday’s suicide victim.

Still from Der Todesking (The Death King) (1990)

WHY IT SHOULD MAKE THE LIST: Der Todesking‘s qualifications as a weird movie stem from its utter unclassifiability as any other kind of movie. It’s too grisly for the arthouse and too philosophical for the grindhouse. Its lack of a single narrative makes it awkwardly describable as a film essay. That in mind, it is tremendously well executed, with moments of despair, surrealism, and beauty.

COMMENTS: In the film’s introduction (included as a bonus feature), Jörg Buttgereit assures the audience, “Don’t get me wrong here: it’s a movie against suicide.” It says something of either the kind of person who would watch this movie or, more likely, the kind who would refuse to watch it but still condemn it, that this explanation is necessary. To be fair, Der Todesking is at times a difficult movie, but that is due to the unpleasant subject matter (suicide), not the director’s handling of it.

The suicide-centered set-pieces are framed by a time-lapse image of a decomposing corpse. Within this framing structure is another one: an over-the-shoulder view of a young girl writing in a journal, beginning with the title for a drawing (“der Todesking”, in cute, loopy cursive), and ending with her finishing a drawing of a skeleton with a crown. She explains to the camera, “This is the King of Death. He makes people want to die.” Now already at two levels of framedness, the seven (largely) separate suicide sketches are each further framed by the days of the week, sometimes overlapping with each other. Got that?

Even beyond the framing cantrip, the film’s style is a showcase for low budget inventiveness. The first episode has a montage scene accomplished by a (seemingly?) uncut shot of a camera rotating several times full circle around a small apartment room, showing a man going through mundane tasks shortly after resigning from a well-paying job. Background items reveal his character. His only companion seems to be a goldfish, who joins him in death once he’s downed dozens of pills while in the bathtub. Or is it his only companion? Before his resignation and suicide, he writes and sends off about half a dozen letters.

On Tuesday, one is received by a friend, informing him of the sender’s suicide. He carries this note to a video rental place where, almost choosing My Dinner with André, instead opts for Vera: the Death-Angel of the Gestapo. The clerk is surprised he’s only renting one movie: the fellow explains he only has time for one—he’s got a birthday party to go to. Or so he thought. Despite the letter, his rental needs watching; and it’s a real pity that his girlfriend interrupts his viewing…

Of the seven days, Thursday is perhaps the most haunting. Using camera shots reminiscent of Alain Resnais’ Night and Fog, the bit is virtually silent: just various angles and journeys through, above, in, and around a large overpass. Title cards appear, indicating the name, age, and profession of random individuals. These are all recorded suicides from that location.

Buttgereit’s movie is fairly brief, but that is due to his efficiency as a director and storyteller. Some very bleak ideas are explored here, and despite the director’s reputation, the movie never falls into the realm of the tasteless.

NOTE ON THE LIMITED EDITION BLU-RAY: So carefully was this little gem packaged that I was somewhat loath to break the seal and open it. The cover sleeve, unlike so many releases, was actually different from the box art. Within, not only was there a fully packed disc (trailers for the director’s oeuvre, a documentary, and a soundtrack-only option, as well as a film introduction and commentary) but also a graphic postcard; limited in quantity, like the disc. If you get your hands on on it, you’ll have one of only 3,000 copies.

WHAT THE CRITICS SAY:

“The end result is oddly beautiful and perhaps Buttgereit’s finest achievement as a director…”–Nathaniel Thompson, Mondo Digital (Blu-ray)

 

 

Canonically Weird (The List)

200. METROPOLIS (1927)

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“I have recently seen the silliest film. I do not believe it would be possible to make one sillier… Never for a moment does one believe any of this foolish story; for a moment is there anything amusing or convincing in its dreary series of strained events. It is immensely and strangely dull. It is not even to be laughed at. There is not one good-looking nor sympathetic nor funny personality in the cast; there is, indeed, no scope at all for looking well or acting like a rational creature amid these mindless, imitative absurdities.”–H.G. Wells

“Those who understand cinema as an unassuming storytelling mechanism will be deeply disappointed in Metropolis. That which it recounts is trivial, overblown, pedantic and outdatedly romantic. But, if to the tale we prefer the ‘plasitco-photogenic’ background of the film, then Metropolis will fulfill our wildest dreams, will astonish us as the most astonishing book of images it is possible to compose.”–Luis Buñuel

Must See

DIRECTED BY:

FEATURING: Gustav Fröhlich, Brigitte Helm, Alfred Abel, Rudolf Klein-Rogge

PLOT: The future city of Metropolis is starkly divided between two classes: the rulers who spend their days in pleasure gardens, and the workers who live underground and run the massive machines that supply the city with power. Freder, the son of Joh Fredersen, the most powerful man in Metropolis, discovers the existence of the underground world when he becomes entranced by beautiful Maria, a woman who prophesies to the workers that a Mediator will come to unite the two classes. Joh is not happy with this development and he enlists the scientist Rotwang to kidnap Maria and create a robotic duplicate of her to discredit her with the workers; but the doctor, who harbors a personal grudge against Fredersen, sabotages the plan.

Still from Metropolis (1927)
BACKGROUND:

  • Metropolis cost 5 million reichmarks to produce (about $24 million in inflation-adjusted dollars). This would make it one of the most expensive movies of its era, and although its cost has often been exaggerated, it did almost send its studio into bankruptcy. The movie utilized thousands of extras: reports range between 25,000-37,000 people.
  • Adolph Hitler was a fan of Metropolis, despite having banned another of Fritz Lang’s films, The Testament of Dr. Mabuse, for its anti-Nazi sentiments. Joseph Goebbels told Lang that he would be made an honorary Aryan despite his Jewish heritage (the director’s mother was a Jew who converted to Catholicism). Goebbels offered him a position as head of UFA, Germany’s national studio, which Lang declined.
  • Lang’s wife, Thea von Harbou, wrote the screenplay for Metropolis and followed up with a novelization of the story. She willingly joined the Nazi party in 1932. Lang and von Harbou divorced in 1933. Lang fled to France in 1934, and then went on to Hollywood in 1936.
  • In the early years of movies, the concept of film preservation had not yet been formed, and many movies were lost when the prints decayed or were deliberately destroyed. At 153 minutes, Lang’s original Metropolis cut was too long for many exhibitors of the time, and 30 minutes were deleted after the premier for international audiences. Portions of the original uncut prints of Metropolis did not survive, and it was long thought that a complete version of the film would never surface. In 2008, however, a nearly complete print containing an additional 25 minutes of footage was discovered in Buenos Aires. Although of poor quality, the segments were incorporated into existing prints of Metropolis and the film was re-released to theaters (and later on home video) as “the Complete Metropolis.” A few minutes of footage are still believed to be forever lost, however.
  • Ranked #35 on Sight & Sound’s poll of the greatest movies of all time.

INDELIBLE IMAGE: The robot encircled by electrified rings as it takes on the form of Maria is not only Metropolis‘ most memorable vision, it’s one of the most iconic images in all of cinema.

WHAT MAKES IT WEIRD: An allegory of steely skyscrapers and miserable sewers, Metropolis is a movie that reveals, and revels in, the unique power of silent film to create an experience that feels more like living through a myth than listening to a story. Divorced from dialogue, drained of color, it is the pure images that stick in our memory, like fragments of a dream. Metropolis is not the weirdest film on our List, but its influence is seen throughout fantastic cinema (the cityscapes of Brazil would not have the same shape without it, to name just one example). Metropolis is simply too big to ignore.


Trailer for the 2010 restoration of Metropolis

COMMENTS: There is hardly an ounce of reality in Metropolis, which Continue reading 200. METROPOLIS (1927) →

Capsules

CAPSULE: AGUIRRE, THE WRATH OF GOD (1972)

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Aguirre, der Zorn Gottes

Must See

DIRECTED BY:

FEATURING: , Del Negro, Ruy Guerra

PLOT: 16th-century Spanish nobleman Aguirre convinces an Amazonian scouting party to turn against their commander and continue a futile trek down the river in search of the fabled city of “El Dorado”; privation, massacres, and death ensue.

Still from Aguirre the Wrath of God (1972)
WHY IT WON’T MAKE THE LIST: This movie is certainly atypical, but the only truly weird thing about it is that it is one of the few movies featuring Klaus Kinski in which his role is not overshadowed by his ding an sich.

COMMENTS: There are any number of good things to say about this movie, and I’ve little doubt that most have been said already (by reviewers far more experienced and informed than I). Still, for what it’s worth, I’ll boldly take the stance that, yes, this movie is amazing, and anyone who considers him or herself a cinephile should watch it, and that no, it does not qualify for the auspicious (dubious?) honor of being “Certified Weird.”

The two factors that would have most likely planted this movie firmly in the “weird” category in conjunction, somehow, preclude that possibility. A young Werner Herzog directs a young Klaus Kinski, filming in the middle of a Peruvian rainforest. The story concerns the mishaps of a clutch of very misguided conquistadors who, defying all logic, continue on a suicidal mission to find “El Dorado”, until they meet a very grim fate indeed. So far, so promising. However, the whole prospect of “weirdness” gets derailed within the first five minutes, as things quickly become very real and very grounded in a believable depiction of the febrile hardship that would necessarily come of such an ill-equipped and poorly planned expedition.

The opening shot invokes something close to Heaven, as the audience sees tall mountain peaks obscured by vaporous clouds. Popol Vuh’s choir-like score enhances the detachment from the world below. The next cut brings the action back to earth, as a serpentine procession of Spanish soldiers and Indian slaves trickles slowly down. Weapons, armor, cannons, and food are all being laboriously maneuvered down the narrow path, along with two cumbersome sedan chairs for the ladies in the group. The red uniforms make a zig-zagging crimson line, slowly flowing from the top of a peak down into the lush, tropical mire below.

Foreshadowing comes quickly, as Pizarro and Aguirre confer by the river’s edge. “No one can get down that river alive,” Aguirre asserts. “I tell you, we can do it,” replies Pizarro, “From here it will be easier.” Aguirre retorts, “No. We’re all going to go under.” In this brief bit of dialogue, the rest of the movie is laid out, and the movie becomes no longer concerned with what’s going to happen, but with how it’s going to happen.

The minimalist camerawork provides a sense of documentary footage for a great deal of the film. Characters are observed as they stare blankly at the water, or stare blankly at the surrounding jungle, or even as they stare blankly at the camera. The action is disjointed, but linear, as various forward jumps occur, typically narrated with a specific date. The merciless crunch of time weighs on the viewer, as he sees the terrible state of the men, only to find in the next scene they have somehow survived another four weeks of this torment. And while they are all either starving, collapsing from fever, or being stealthily murdered by hostile natives, they are under the watchful eye of the nobleman Aguirre.

Kinski provides his signature otherworldly presence in his depiction of Aguirre, but the effect does not come across as jarring. On a number of occasions Aguirre refers to himself either as “God” or “the Wrath of God”, and often has a habit of looking over those around him as if they were some sort of insects. The Aguirre “vibe” is one of megalomaniacal narcissism (if that’s redundant, it is appropriately so), and no actor other than Kinski could have delivered the look and temperament required of so zealous a leader.

This adds up to a movie that is a) narratively comprehensible, b) credible, and c) troubling, but appropriately so. See it by all means: the performances are all top-notch, the pacing is incredible (Herzog somehow manages to squeeze just the right amounts of madness and tedium in a 94-minute movie), and the sound and visuals will knock your socks off. Were this site “366 stunning movies.com”, Aguirre would be first on the list (and not only because of the title…)

WHAT THE CRITICS SAY:

“…overwhelming, spellbinding; at first dreamlike, then hallucinatory.”–Danny Peary, Cult Movies

(This movie was nominated for review  by Eric, who correctly asserted “whether [this] make this list or no, nobody’s time watching [it] will have been wasted.” Suggest a weird movie of your own here.)