Institute Benjamenta: Difference between revisions
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{{Infobox Film |
{{Infobox Film |
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| name = Institute Benjamenta, or This Dream That |
| name = Institute Benjamenta, or This Dream That People Call Human Life |
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| image = Institutebenjamenta.jpg |
| image = Institutebenjamenta.jpg |
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'''''Institute Benjamenta, or This Dream |
'''''Institute Benjamenta, or This Dream People Call Human Life''''', released in 1996, was the first feature-length film by the [[Brothers Quay]]. It is based on ''[[Jakob von Gunten]]'', a novel written by [[Robert Walser]]. It stars [[Mark Rylance]], [[Alice Krige]], and [[Gottfried John]]. |
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==Plot== |
==Plot== |
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==Relation to the novel== |
==Relation to the novel== |
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Though the film follows the same basic structure as the novel, its plot is more limited. The film does not depict the ending of the novel, in which Jakob travels to a nearby city and meets his brother. The film remains almost exclusively focused on the institute once Jakob arrives there. The Quays have characterized the film as a [[parallel universe]] of the novel.<ref name=adapt/> |
Though the film follows the same basic structure as the novel, its plot is more limited. The film does not depict the ending of the novel, in which Jakob travels to a nearby city and meets his brother. The film remains almost exclusively focused on the institute once Jakob arrives there. The Quays have characterized the film as a [[parallel universe]] of the novel.<ref name=adapt/> |
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One reoccurring theme in the film is that many objects are seen vibrating, such as forks or bells. Parallels have been drawn between these vibrations and the frequent theme of music in Walser's writing. |
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==Themes== |
==Themes== |
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Ariel Swartley of ''[[The New York Times]]'' has drawn a comparison between Jakob's efforts to "turn himself into a machine" as a servant and the animation of objects that the Brothers Quay have focused on in their previous [[stop-motion film]]s.<ref name=nyt>{{cite news|last=Swartley|first=Ariel|title=FILM; From Identical Twins, a Story of Two Conjoined|url=http://www.nytimes.com/1999/07/25/movies/film-from-identical-twins-a-story-of-two-conjoined.html?src=pm|accessdate=November 21, 2011|newspaper=The New York Times|date=July 25, 1999}}</ref> (''Institute Benjamenta'' was their first [[live-action film]]).<ref name=spin>{{cite news|last=Atkinston|first=Michael|title=Sights Unseen|url=http://books.google.com/books?id=JheoECFjDqMC&pg=PA116|accessdate=November 21, 2011|newspaper=SPIN|date=April 1996}}</ref> Stephen Quay has said that they sought to convey a similar sense of "otherness" through the actors as they had done through puppets in previous projects.<ref name=cmj>{{cite news|last=Helms|first=Colin|title=Institute Quay|url=http://books.google.com/books?id=OS0EAAAAMBAJ&pg=PA1982|accessdate=November 21, 2011|newspaper=CMJ New Music Monthly|date=May 1996}}</ref> Laura Marks has argued that "non-sentient life seems to take precedence over human life" and that the film includes a "tide of non-human life".<ref>{{citation|last=Marks|first=Laura|editor=Chris Gehman and Steve Reinke|title=The sharpest point: animation at the end of cinema|url=http://books.google.com/books?id=XFW2vY9Yib0C&pg=PA126|year=2005|publisher=YYZ Books|isbn=978-0-920397-32-9|page=126|chapter=Institute Benjamenta: An Olfactory View}}</ref> |
Ariel Swartley of ''[[The New York Times]]'' has drawn a comparison between Jakob's efforts to "turn himself into a machine" as a servant and the animation of objects that the Brothers Quay have focused on in their previous [[stop-motion film]]s.<ref name=nyt>{{cite news|last=Swartley|first=Ariel|title=FILM; From Identical Twins, a Story of Two Conjoined|url=http://www.nytimes.com/1999/07/25/movies/film-from-identical-twins-a-story-of-two-conjoined.html?src=pm|accessdate=November 21, 2011|newspaper=The New York Times|date=July 25, 1999}}</ref> (''Institute Benjamenta'' was their first [[live-action film]]).<ref name=spin>{{cite news|last=Atkinston|first=Michael|title=Sights Unseen|url=http://books.google.com/books?id=JheoECFjDqMC&pg=PA116|accessdate=November 21, 2011|newspaper=SPIN|date=April 1996}}</ref> Stephen Quay has said that they sought to convey a similar sense of "otherness" through the actors as they had done through puppets in previous projects.<ref name=cmj>{{cite news|last=Helms|first=Colin|title=Institute Quay|url=http://books.google.com/books?id=OS0EAAAAMBAJ&pg=PA1982|accessdate=November 21, 2011|newspaper=CMJ New Music Monthly|date=May 1996}}</ref> Laura Marks has argued that "non-sentient life seems to take precedence over human life" and that the film includes a "tide of non-human life".<ref>{{citation|last=Marks|first=Laura|editor=Chris Gehman and Steve Reinke|title=The sharpest point: animation at the end of cinema|url=http://books.google.com/books?id=XFW2vY9Yib0C&pg=PA126|year=2005|publisher=YYZ Books|isbn=978-0-920397-32-9|page=126|chapter=Institute Benjamenta: An Olfactory View}}</ref> |
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Sorfa contends that the number zero is used as a [[MacGuffin]] in the film.<ref name=adapt/> |
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==Reception== |
==Reception== |
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The imagery used in the film has been characterized as "befuddling",<ref name=deseret/> "puzzling",<ref name=chron/> and "mysterious".<ref name=spin/> |
The imagery used in the film has been characterized as "befuddling",<ref name=deseret/> "puzzling",<ref name=chron/> and "mysterious".<ref name=spin/> |
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Peter Stack of ''[[The San Francisco Chronicle]]'' said that several scenes which featured miming were particularly well made.<ref name=chron>{{cite news|last=Stack|first=Peter|title=An `Institute' of the Weird|url=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1996/05/31/DD23800.DTL|accessdate=November 21, 2011|newspaper=The San Francisco Chronicle|date=May 31, 1996}}</ref> Phil Hall of ''[[Wired]]'' praised what he described as the "marvelous tension" between Rylance and Kreige. He also applauded the focused and controlled performances by the rest of the cast.<ref name=wired/> |
Peter Stack of ''[[The San Francisco Chronicle]]'' said that several scenes which featured miming were particularly well made.<ref name=chron>{{cite news|last=Stack|first=Peter|title=An `Institute' of the Weird|url=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1996/05/31/DD23800.DTL|accessdate=November 21, 2011|newspaper=The San Francisco Chronicle|date=May 31, 1996}}</ref> Phil Hall of ''[[Wired]]'' praised what he described as the "marvelous tension" between Rylance and Kreige. He also applauded the focused and controlled performances by the rest of the cast.<ref name=wired/> David Sorfa praised Rylance's portrayal of Jakob's emotions as "subtle".<ref name=adapt/> |
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[[Michael Atkinson (writer)|Michael Atkinson]] praised the film's originality, stating that at times it is comparable to the "inevitable grip of the best David Lynch". He did note that he found the film confusing at times, and characterized it as possessing "Freudian secrecy". He suggests that the film should be seen as a mood, rather than as a narrative. He also lamented that the film saw a limited release<ref group=note>The film was shown at approximately 50 theaters in the United States in the Spring and Summer of 1996.</ref> and would likely only be seen by those who already have an interest in [[art film]].<ref name=spin/> |
[[Michael Atkinson (writer)|Michael Atkinson]] praised the film's originality, stating that at times it is comparable to the "inevitable grip of the best David Lynch". He did note that he found the film confusing at times, and characterized it as possessing "Freudian secrecy". He suggests that the film should be seen as a mood, rather than as a narrative. He also lamented that the film saw a limited release<ref group=note>The film was shown at approximately 50 theaters in the United States in the Spring and Summer of 1996.</ref> and would likely only be seen by those who already have an interest in [[art film]].<ref name=spin/> |
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==External links== |
==External links== |
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*''[http://www.rottentomatoes.com/m/the-institute-benjamenta/ The Institute Benjamenta]'' at [[Rotten Tomatoes]] |
*''[http://www.rottentomatoes.com/m/the-institute-benjamenta/ The Institute Benjamenta]'' at [[Rotten Tomatoes]] |
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* {{imdb title|0113429|Institute Benjamenta, or This Dream That |
* {{imdb title|0113429|Institute Benjamenta, or This Dream That People Call Human Life}} |
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[[Category:1996 films]] |
[[Category:1996 films]] |
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Revision as of 21:38, 21 November 2011
| Institute Benjamenta, or This Dream That People Call Human Life | |
|---|---|
 | |
| Directed by | Stephen Quay Timothy Quay |
| Written by | Alan Passes |
| Produced by | Janine Marmot Keith Griffiths Karl Baumgartner Katsue Tomiyama |
| Cinematography | Nick Knowland |
| Edited by | Larry Sider |
| Music by | Lech Jankowski |
| Distributed by | Zeitgeist Films |
Release date | 1996 |
Running time | 104 min. |
| Countries | Germany Japan UK |
| Languages | German English |
Institute Benjamenta, or This Dream People Call Human Life, released in 1996, was the first feature-length film by the Brothers Quay. It is based on Jakob von Gunten, a novel written by Robert Walser. It stars Mark Rylance, Alice Krige, and Gottfried John.
Plot
The plot follows a Jakob, a young man who enters a school, run by brother and sister Herr and Lisa Benjamenta, which trains servants. He finds the school to be an oppressive environment, and does not enjoy the lessons in subservience that he receives. He proceeds to challenge the Benjamentas and attempts to shift their perspectives. Lisa is attracted to Jakob and spends time with him, and shows him the secret labyrinth below the school. Lisa soon dies and after her death the institute closes. Herr Benjamenta and Jakob then leave together.
Relation to the novel
Though the film follows the same basic structure as the novel, its plot is more limited. The film does not depict the ending of the novel, in which Jakob travels to a nearby city and meets his brother. The film remains almost exclusively focused on the institute once Jakob arrives there. The Quays have characterized the film as a parallel universe of the novel.[1]
One reoccurring theme in the film is that many objects are seen vibrating, such as forks or bells. Parallels have been drawn between these vibrations and the frequent theme of music in Walser's writing.
Themes
The film has been described as thematically similar to a fairy tale, a fantasy,[2] or a dream world.[3] Writing in the journal Adaptation, David Sorfa argues that many of the projects of the Brothers Quay discuss the idea that a "metaphysical interior" may exist. Sorfa argues that this film does not attempt to reveal a hidden meaning, but rather argue that a realm of hidden meaning, though unreachable, may exist nonetheless.[1]
Ariel Swartley of The New York Times has drawn a comparison between Jakob's efforts to "turn himself into a machine" as a servant and the animation of objects that the Brothers Quay have focused on in their previous stop-motion films.[4] (Institute Benjamenta was their first live-action film).[5] Stephen Quay has said that they sought to convey a similar sense of "otherness" through the actors as they had done through puppets in previous projects.[6] Laura Marks has argued that "non-sentient life seems to take precedence over human life" and that the film includes a "tide of non-human life".[7]
Sorfa contends that the number zero is used as a MacGuffin in the film.[1]
Reception
The film has been compared to Eraserhead due to its unconventional narrative[8] and black-and-white filming style.[9] Parallels have also been drawn between the film and Expressionist film of the 1920s. Silke Horstkotte has argued that the gestures of the actors and surreal aspects of the school also recall silent film conventions.[10]
The imagery used in the film has been characterized as "befuddling",[8] "puzzling",[2] and "mysterious".[5]
Peter Stack of The San Francisco Chronicle said that several scenes which featured miming were particularly well made.[2] Phil Hall of Wired praised what he described as the "marvelous tension" between Rylance and Kreige. He also applauded the focused and controlled performances by the rest of the cast.[9] David Sorfa praised Rylance's portrayal of Jakob's emotions as "subtle".[1]
Michael Atkinson praised the film's originality, stating that at times it is comparable to the "inevitable grip of the best David Lynch". He did note that he found the film confusing at times, and characterized it as possessing "Freudian secrecy". He suggests that the film should be seen as a mood, rather than as a narrative. He also lamented that the film saw a limited release[note 1] and would likely only be seen by those who already have an interest in art film.[5]
The Quays themselves later stated that they regretted the length of the film. They suggested that it would have been more effective as a short film or a very long film, rather than average length.[1]
Notes
- ^ The film was shown at approximately 50 theaters in the United States in the Spring and Summer of 1996.
References
- ^ a b c d e Sorfa, David (2011). "The Illusory Architext of the Institute Benjamenta". Adaptation: pp. 1-14. doi:10.1093/adaptation/apr005.
{{cite journal}}:|pages=has extra text (help) - ^ a b c Stack, Peter (May 31, 1996). "An `Institute' of the Weird". The San Francisco Chronicle. Retrieved November 21, 2011.
- ^ Buchan, Suzanne (2011), The Quay Brothers: Into a Metaphysical Playroom, University of Minnesota Press, p. 272, ISBN 978-0-8166-4659-3
- ^ Swartley, Ariel (July 25, 1999). "FILM; From Identical Twins, a Story of Two Conjoined". The New York Times. Retrieved November 21, 2011.
- ^ a b c Atkinston, Michael (April 1996). "Sights Unseen". SPIN. Retrieved November 21, 2011.
- ^ Helms, Colin (May 1996). "Institute Quay". CMJ New Music Monthly. Retrieved November 21, 2011.
- ^ Marks, Laura (2005), "Institute Benjamenta: An Olfactory View", in Chris Gehman and Steve Reinke (ed.), The sharpest point: animation at the end of cinema, YYZ Books, p. 126, ISBN 978-0-920397-32-9
- ^ a b Vice, Jeff (November 26, 1996). "Institute Benjamenta". Deseret News. Retrieved November 21, 2011.
- ^ a b Hall, Phil (March 1996). "Head of the Class". Wired.com. Retrieved November 21, 2011.
- ^ Horstkotte, Silke (2009), "Seeing or Speaking: Visual Narratology and Focalization, Literature to Film", in Sandra Heinen and Roy Sommer (ed.), Narratology in the age of cross-disciplinary narrative research, Walter de Gruyter, p. 186, ISBN 978-3-11-022242-5
