In the evening of every day
| Movie | |
|---|---|
| German title | In the evening of every day |
| Original title | In the evening of every day |
| Country of production | Germany |
| original language | German |
| Publishing year | 2017 |
| length | 89 minutes |
| Rod | |
| Director | Dominik Graf |
| script | Markus Busch |
| production | Markus Gruber, Michael Hild, Bernd Schlötterer |
| music | Florian van Volxem , Sven Rossenbach |
| camera | Martin Farkas |
| cut | Claudia Wolscht |
| occupation | |
| |
In the evening, all day is a German television - thriller from director Dominik Graf from the year 2016. The screenplay Markus Busch is based on Henry James ' novella The Aspern Papers ( German The Aspern fonts ) from 1888 and transmits the fiction on contemporary history Background to the Gurlitt collection from the “ Schwabinger Kunstfund ” in 2012. The film was first broadcast on May 31, 2017 in the ARD program Das Erste .
action
Apparently straight from a love affair, Philipp Keyser has himself chauffeured to the appointment after office hours in a Frankfurt skyscraper. In the law firm residing there, a group of elderly women and men commissioned the art historian without a degree with an extraordinary case: search for and purchase of a missing painting “by the (fictional) expressionist Ludwig Glaeden with the name 'The Vocation of Salomé'." It only exists as Dust imprint on an old living room photo and as a blank in a catalog. But Philipp admires Glaeden and also needs the money, which obviously plays a lot less of a role than "the time that the gentlemen and me (...) will no longer be too endless", as the nameless spokeswoman emphasizes after she has given a generous one first check made out. The only tip is the rumor that the current owner is the heir of the famous art dealer Eckhart Dutt, Magnus Dutt in Munich.
There he pretends to be a journalist and doctoral student on Glaeden in a gallery in order to gain access to Dutt's great-niece to his inaccessible property. Alma is a painter herself, but makes a mundane living in a large laundry and Philipp spontaneously rejects it. Without scruples, Philipp first seduces Sabine, Alma's young colleague, before she opens up to Philipp more and more and soon a romance develops. Effective tilling Dutt's stunted garden, Philipp finally comes closer to this too.
Finally, during one of Dutt's many absences, Philipp discovers the desired destination with Alma's help in the large, completely disordered art treasure in his basement. However, Dutt turns out to be completely inaccessible to Philip's request to buy, as he fundamentally rejects the treatment of works of art as economic goods and thus their " possession ": art belongs only to himself.
In the end, Philipp uses physical violence to get rid of the picture against Dutt's will. Dutt falls back in the basement, then a picture is burned "and two lovers hold each other in each other's arms, as if they could actually find support."
background
The script is heavily inspired by the case of the Munich art collector Cornelius Gurlitt . The person Magnus Dutt is based on this, just like his "father" Eckhart Dutt on Cornelius Gurlitt's father Hildebrand Gurlitt and, like on Gurlitt's property, the first images of the enchanted property that protagonist Philipp offers himself behind the barely legible doorbell in the film.
The client's question as to whether he was Jewish also alludes to the problem of Nazi looted art , which was associated with the "Gurlitt Collection" from the start because of Cornelius' father Hildebrand Gurlitt , but ultimately only in very few cases (probably in only 6 out of 1,200, i.e. in only 0.5% of the cases) proved to be correct.
The role name of Alma is dedicated to the colorful personality Alma Mahler-Werfel . Her artistic creation, which is based on transitoriness and her refusal to change this in dialogue with Philipp, forms the tangible counterpoint to the economization of art, which the film treats on a deeper level.
reception
The first broadcast on May 31, 2017 saw 3.23 million viewers, which corresponds to a market share of 12.1%. On June 7 and 8, 2017, the film was shown three more times on German television on One .
Most of the critics rated the film as positive to outstanding. So awarded Rainer Tittelbach five and a half by six points for the "subtle, sophisticated meditation on Love & Art (...). A film against viewing habits. A film for the eyes, the head and the soul. ”At the same time, he fears that this“ will remain closed to the eyes and the soul of the 'crowd'. She will not 'recognize' this film in the sense of love. Because (...) the film (...) with its observant and distant narrative attitude has a more poetic than dramatic note. "He calls Jacobi's portrayal" as usual impressive ".
Like Tittelbach, Heike Hupertz also praised Dominik Graf's staging of Cornelius Gurlitt for the Frankfurter Allgemeine Zeitung, not as a strange eccentric, but as a “clever man” and “as an intellectual heir to the art religion of the nineteenth century (...) and as a great lover.” And she too feels the film as one “that demands concentration and maybe even demands dedication”, but it is “lavishly filmed (...) and ravishingly written”, overall “masterly”.
And for Der Spiegel , Christian Buß benevolently subsumed : “Intoxication and reflection, presumption and analysis, this jazz-driven painter spectacle with its bleeding canvases and dripping pots of paint goes haywire. Who does the art belong to? (…) The film is not at all suitable for a legal or moral commentary on dealing with Nazi-looted art. Even more so than a thriller about the power of art over life. "
David Denk also recognizes for the Süddeutsche Zeitung that it is “a multi-layered film that is inviting for interpretation, but (…) by no means pleasing (…).” He just puts it into perspective, even if “it is clear that television in this country could have more films like this to use with claim - as little concerned with accessibility as in the evening of all days but maybe they shouldn't be all. "
Web links
- In the evening, all day in the Internet Movie Database (English)
Individual evidence
- ↑ a b c Christian Buß : Bleeding canvases. In: Spiegel Online . May 31, 2017, accessed June 5, 2017 .
- ↑ a b Heike Hupertz: In painting and in love. In: Frankfurter Allgemeine Zeitung . May 31, 2017, accessed June 5, 2017 .
- ↑ a b David Denk: Evil Eye. In: Süddeutsche Zeitung . May 30, 2017. Retrieved June 5, 2017 .
- ^ A b c Rainer Tittelbach : TV film "In the evening of all days". Tittelbach.tv , accessed on June 5, 2017 .