The fall (film)
| Movie | |
|---|---|
| Original title | The fall |
| Country of production | Germany |
| original language | German |
| Publishing year | 1979 |
| length | 103 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Alf Brustellin |
| script | Alf Brustellin Bernhard Sinkel |
| production |
Heinz Angermeyer Alf Bustellin Bernhard Sinkel Joachim von Vietinghoff |
| music | Klaus Doldinger |
| camera | Dietrich Lohmann |
| cut | Annette Dorn |
| occupation | |
| |
Der Sturz is a German feature film made in 1978 based on the novel of the same name by Martin Walser . Directed by Alf Brustellin play Franz Rieser book and Hannelore Elsner the leading roles.
action
The writer Anselm Kristlein, a man in his early forties, speculated on his wife's finances, an inheritance of 72,000 marks, in Munich, partly with bets, partly with investments that were as daring as they were pointless, such as those in the pinball machine industry. Sloppy and bare he walks, shabby, sometimes even naked, on foot through pubs, forests and tavern toilets, eats twelve pairs of sausages on the way, meets one or the other weirdo and drinker, is beaten up by rockers and comes home, on Lake Constance, with women and men the four children with their dog. During this self-discovery phase of her husband, Alissa Kristlein stayed down to earth and runs the company-owned recreation and leisure home of the large entrepreneur and chocolate manufacturer Blomich. When Anselm returns home, she is annoyed that her husband has his drinking buddies with him.
One day, to make matters worse, Alissa also loses her job, because her bread maker was sold to an American company that has no use for Alissa Kristlein or the leisure home. Anselm's life “philosophy” threatens to encroach on Alissa, the eponymous fall affects both of them. You reach for alcohol and smash the in-house porcelain. Finally, when a storm is approaching, the couple go to Lake Constance, completely exposing themselves to fate. But lightning and thunder, as well as the lashing rain wind, do not bring the Kristleins' sailing boat into the expected sinking. It is not a longing for death that drives them, rather the irrepressible desire for change. "We have been here too long anyway, we have to change," they call out to each other, signaling that the Kristleins will remain an inseparable and strong couple despite many dissonances and contradictions.
Production notes
The lintel was created between July 11th and August 28th, 1978 and was completed on November 10th, 1978. The film was shot in Anspach, on Lake Starnberg and in Munich. The world premiere took place on January 18, 1979.
Winfried Hennig designed the film structures and costumes . Co-producer Joachim von Vietinghoff also took over the production management.
criticism
“If you define a fall as a sudden, sloping movement that is no longer subject to will, but only to gravity, then Alf Brustellin has redeemed the title of his film almost ideally: When Martin Walser's novel of the same name is made into a film, it notices the visitor quickly, a berserk at work, whose anger is not blind (because that would still work), but vague. She lashes out but doesn't strike; it hits nothing, but means everything; she is constantly overexerting herself, but she is not trying. In this catastrophe film, which conveys nothing other than its own catastrophe, almost everything is crooked, wrong, hasty and exaggerated into the imprecise. Brustellin wants to make a film of Walser's novel and then doesn't want to. Halfway there, he drags everything from the novel with him that could be dispensed with: a hacked-up plot skeleton, Walser's preference for strange names and scraps of quotations that are transplanted into the film, as if the characters were talking with cured tongues. And he forgets to take with him what the novel would have to offer him on its path to destruction and destruction: the brain fears and phantasmagorias of a citizen and family man who loses the ground under his feet and therefore more and more small accidents result in great doom. "
“Alf Brustellin's film based on this novel is, although it wants to be a comedy, also garish, the alarm sirens of the various emergency vehicles are increasingly becoming his leitmotif, and in general it is very close to the central point of Walser's novel, although it is considerably different from the original Takes liberties, precisely because he dares to take them. It is therefore definitely not everyone's business. Anyone who, relieved and unchallenged, never had the feeling of living as a madman among madmen and doing mad things must consider the film as the novel as mad. Something like amazement can arise from this feeling that 'in reality' everything works relatively lightly and without a hitch. Film and novel know nothing about this: They dig their way into failure. They are 'unfair': they lack the contrasting dimension of 'normality'. They do not provide a picture of reality; they give an enlarged image of a multiple fall from reality. "
“Filming of the last part of the Kristlein trilogy by Martin Walser: After the eternally failing intellectual Anselm Kristlein had to make his way through 'half-time' as a representative and copywriter and had become a writer in 'Das Einhorn' (made into a film by Peter Patzak in 1977), tried he now runs a pinball salon in Munich, loses his wife's fortune and returns to Lake Constance in a chaotic state of mind. The film brings the diversity of the novel to the screen, but unfortunately also its talkative excursions. The linguistic and narrative acrobatics of the original turns into a confused conglomerate of images and thoughts that lacks elasticity. "
Individual evidence
- ^ German Institute for Film Studies (ed.): German Films 1978, compiled by Rüdiger Koschnitzki. P. 210
- ↑ The fall. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
Web links
- The fall in the Internet Movie Database (English)
- The fall at filmportal.de
- Free fall . Report by Hellmuth Karasek
- Fear the seller . Report by Dieter E. Zimmer