The robber (film)
| Movie | |
|---|---|
| Original title | The robber |
| Country of production | Austria , Germany |
| original language | German |
| Publishing year | 2010 |
| length | 98 minutes |
| Age rating |
FSK 12 JMK 12 |
| Rod | |
| Director | Benjamin Heisenberg |
| script | Benjamin Heisenberg, Martin Prinz |
| production |
Michael Kitzberger , Peter Heilrath , Nikolaus Geyrhalter , Markus Glaser , Wolfgang Widerhofer |
| music | Lorenz Dangel |
| camera | Reinhold Vorneider |
| cut | Andrea Wagner |
| occupation | |
| |
The robber is an Austrian-German thriller - drama from 2010 by director Benjamin Heisenberg with Andreas Lust in the lead role. The film premiered in the competition at the Berlinale 2010 and received a positive response from critics, but it was not a big hit in the cinema. In 2016 it became known that a US remake would be made under the direction of JC Chandor .
action
Johann Rettenberger is serving a six-year prison sentence for a failed bank robbery. The closed loner uses the courtyard walk to prepare for the time after the prison with an endurance run. After his release, he met an acquaintance from the time before his imprisonment, the employee Erika, at the employment office in Vienna . He can finally move in with her temporarily. He assures his skeptical probation officer that he will be able to stay afloat with the prize money from marathons . In fact, shortly afterwards he became the best Austrian runner at the Vienna Marathon and received a handsome prize money. But Rettenberger's criminal energy has long since reappeared: armed with a shotgun, he raids numerous banks and hides the loot in his apartment. A relationship with Erika develops, he wins another marathon and could lead a carefree life with the money he stole. But when Rettenberger is approached again by his probation officer after a victorious run and he tries to persuade him to cooperate more, Rettenberger kills him with the trophy.
Having become suspicious of the media coverage of the bank robberies, Erika discovers Rettenberger's mask and his booty in her apartment. Rettenberger goes into hiding. Eventually he is arrested after a tip from Erika, who was put under pressure by the police. Surprisingly, he manages to escape from the police building. Erika is now the target of police investigations herself and has to endure an apartment search. Rettenberger escapes on foot to the outskirts of Vienna and manages to hide in a hole in the dark from a hundred of the police who are combing the forest for him. He kills a lone police officer who approaches him with a stone. Then Rettenberger robbed the car of a pensioner in a weekend settlement, but was injured by him with a knife. After all, Rettenberger is followed by a car on the autobahn, by a police helicopter and a fleet of police vehicles. He can steal the car from a young couple and continue his escape. But because of the blood loss, he has to stop. With the last of his strength, he phones Erika again, then dies in the car, just a few meters from an emergency telephone.
background
The film is based on the 2002 novel of the same name by Martin Prinz about the Austrian bank robber, murderer and marathon runner Johann Kastenberger , also known as "Pumpgun Ronnie". The shooting took place in April and May 2008 in Vienna and the surrounding area.
The premiere was on February 15, 2010 as part of the competition at the 60th Berlinale . The cinema release in Austria was on February 26, 2010, in Germany on March 4, 2010. By the end of the year, around 15,000 viewers had been reached in both countries. The film had around 10,000 more visitors in France by the end of 2010, where it opened on November 10th.
The television channel arte showed the film on October 30, 2015 from 8.15 p.m. to 9.50 p.m.
Reviews
“The combination of bank robbery film and cool observation creates the brilliant, tense portrait of an extreme personality with perfectly choreographed movement sequences who, apart from her two passions bordering on obsession, appears rather indifferent to life. The problems of a neoliberal performance society are reflected in the driven nature of the protagonist. "
“'The Robber' begins with pale people who look like dead, who move behind fences and in narrow spaces and hardly speak. Pretty much exactly the kind of cinema you would expect from a director from the so-called Berlin School . It is notorious for the fact that it likes to watch the windfalls go moldy in silent endless settings. The surprising thing about Heisenberg's film, however, is how great it puts us viewers into real, feverish thriller tension a few times. "
“In 'Der Räuber' Benjamin Heisenberg was able to refine his unique style [...] once again. [...] As in his earlier films, Heisenberg finds opportunities to overlay his deliberate realism with moments of romantic, fairy-tale quality that create goosebumps: For example, when the flashlights of the police search party look like a night procession from a distance. What a gem of a movie. "
“It is a welcome change of register when a director from the Berlin School (who, like all his colleagues, is embarrassed to be attributed to it) releases himself from Robert Bresson's influence and touts the Melville's for once . [...] The protagonist of the gangster film is a tragic hero. With Heisenberg he is also a typical figure of the Berlin school. The robber tells of alienation. He is a loner in the real world, the gangster milieu is not conjured up. Reinhold Vorneider has elicited a confident agility from his camera in order to keep up with its pace. With the director he finds great emblematic images (such as the sea of lights that sets out for a mountain marathon at night). Despite all the kinetic energy, Rettenberger's transformation into an action hero doesn't want to succeed. You don't have to either. "
“Heisenberg manages the rare case of introspection without identification, an approach without premature empathy. You don't like him, this Rettenberger, but you understand exactly why he's running and what makes him tick when he sees himself cornered between two hedges in an allotment garden and strikes. One notices with horror that one can understand it for a second, the violence, the obsession, the need to escape, this inner barrage that sometimes lashes across the soundtrack. The last German culprit film that triggered something similar was Matthias Glasner's The Free Will . "
“Heisenberg attaches great importance to bringing the figure's physique to the fore, the play of muscles, sweat and breathing, the coloring of the skin under the exertion, and he finds the right actor in Andreas Lust for his endeavors. Dialogues are rare, they are usually scarce, and above all they do not lead anywhere, and certainly not to a solution to a conflict. [...] And that's great, as long as you don't want to see more in 'Der Räuber' than a film on the specific fait diverse . It becomes more difficult as soon as one recognizes not just the figure but a type in Rettenberger. Then it can happen that you get a little tired. Because how often have you seen the gangster in the cinema, who doesn't talk to anyone, who can't get out of his skin and therefore runs to his doom? "
Awards
- Bavarian Film Award 2009 for Best Young Director (Benjamin Heisenberg)
- Invitation to the competition of the 60th Berlin International Film Festival 2010
- Nomination for the German Film Prize 2010 ( Best Cinematography )
- Three awards at the Austrian Film Prize 2011 ( best director , Andreas Lust as best male actor , best sound design )
Web links
- The robber in the Internet Movie Database (English)
- The robber at filmportal.de
- Official website
- Zorro Film GmbH Official German website
- Krone.at Reportage Pumpgun-Ronny - Reality was more brutal than the film
Individual evidence
- ↑ Release certificate for Der Räuber . Voluntary self-regulation of the film industry , November 2009 (PDF; test number: 120 588 K).
- ↑ Age rating for Der Räuber . Youth Media Commission .
- ↑ Benjamin Heisenberg's "Die Räuber" gets US remake. In: mediabiz.de. Blickpunkt: Film, January 22, 2016, accessed on January 22, 2016 .
- ↑ Der Räuber at filmportal.de , section “All Credits”, accessed on February 16, 2012
- ^ Berlinale 2010 film data sheet The Robber
- ↑ The Robber in the Lumiere European cinema attendance database , accessed February 16, 2012
- ↑ http://programm.ard.de/TV/Programm/Alle-Sender/?sendung=2872415898877781#
- ↑ The robber. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ↑ Berlinale 6th part: Day 4 - My heart beats like a jungle drum from February 20, 2010
- ↑ What a gem from a February 16, 2010 film
- ^ Escape on the Way to Death, March 3, 2010
- ↑ Hunting scenes from the Vienna Woods from February 16, 2010
- ^ Heisenberg film The Robber : "Pumpgun Ronnies" Fatalism from March 3, 2010