The concern
| Movie | |
|---|---|
| Original title | The concern |
| Country of production | GDR |
| original language | German |
| Publishing year | 1982 |
| length | 99 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Lothar Warneke |
| script | Lothar Warneke Scenario: Helga Schubert Dramaturgy: Erika Richter |
| production | DEFA , KAG "Babelsberg" |
| music | César Franck |
| camera | Thomas Plenert |
| cut | Erika Lehmphul |
| occupation | |
| |
The Unrest is a German DEFA film directed by Lothar Warneke in 1982 . The low-budget production by DEFA, Babelsberg Group, was made as a partially improvised feature film with a documentary character in black and white. The women's film was one of the most popular DEFA films in the GDR and received numerous awards.
action
Inge Herold is in her late 30s, divorced, lives in Berlin and works as a psychologist in family and marriage counseling. She lives with her 15-year-old son Mike and has a relationship with married Joachim, who is rejected by Mike.
One day Inge discovers a lump in her breast. An initial examination takes place. A little later, Inge found out at work that she had to come to the clinic. Here it is explained to her that the tumor should be surgically removed the next day. If it turns out to be benign, the treatment is complete. However, if the cancer was found to be malignant, Inge would have her breast amputated. Inge is desperate at first, but catches up. She visits Joachim at work and asks him to come over in the evening. At home she meets Mike, who has numerous friends in his room and listens to loud music. Inge throws the friends out and turns off the music. When Mike criticizes her, she slaps him. Mike is leaving.
Inge goes to see her mother. The relationship is distant, and neither has much to say to each other. Inge doesn't want to live according to her mother's ideas. When Inge suggests that she will have to go to the hospital the next day, her mother thinks Inge is pregnant. Inge asks her to take care of Mike while she is in the hospital. She goes and just tells her that she is not pregnant. She doesn't even mention the hospital, as she doesn't want her mother to visit her. Inge passes the time in a café and finally seeks out judge Katharina Weber, with whom she went to the same Abitur class. Katharina has followed a straight path. She is successful at work, shares housework with her husband, has two children and a car. Inge suggests holding a class reunion and Katharina promises to come when she finds the time. She gives Inge the address of Dieter Schramm, who was Inge's childhood sweetheart and with whom they were also in the same class.
Inge meets Brigitte in the late afternoon. Katharina once broke off contact with Brigitte after her parents had fled to the West. However, Inge is still friends with her. Brigitte lives alone, is professionally successful and suppresses thoughts about her life in old age. She can no longer imagine living with anyone. Both go to a theater canteen and talk about their lives. Brigitte thinks that as long as she doesn't get sick, she can continue to live as before. Only now does Inge tell her that she has to go to the hospital. Before the situation gets sentimental, Inge says goodbye and Brigitte promises to call her.
Inge is now looking for Dieter Schramm, who comes home after a while with his little daughter Susanne. He has recently been divorced and is happy to see Inge again. She suggests the class reunion for him, because she wants to see what others have made of themselves and their lives. She tells him nothing about her illness, but asks what he would do if he only had a short life left. He admits that he would cling to life because only people who have lived happily are ready to die early. She admits that she didn't do enough nonsense in her life.
At home Inge prepares a feast for her son and Joachim. She puts on heavy makeup, dresses up a little and waits in vain for a long time. Mike comes home and Inge realizes that he is in love. She is happy for him and informs him by the way that she will be in the hospital for a week. However, it is not serious. Mike notices that she is waiting for Joachim and suggests calling him. Inge refuses, however. She waits in vain for him all night. He appears early in the morning, just before work starts and an hour before Inge has to go to the hospital. He admits that he was at a party that evening and not able to get away earlier. She tells him that she will have to go to the hospital shortly. He should accompany them, since the doctors would only tell the accompanying person the truth about their state of health.
Some time later, the treatment is over. Inge only needs follow-up examinations at longer intervals, but is always concerned about the result. She now lives with Dieter Schramm, who takes away her fear of the follow-up examinations. When she has to go to the hospital again, he promises to pick her up afterwards.
production
The alarm was realized as “the only low-budget DEFA production in the eighties”. Lothar Warneke worked with the young cameraman Thomas Plenert , who until then had mainly devoted himself to documentaries. Even before the premiere of the film, critics recognized that "something very new is being tried here, actually an experiment":
“Warneke did without the script, backdrops, artificial light, make-up, asked for a small, conspiratorial rotating staff, black and white material, a sensationally low budget - and trust. He got it all. "
The film was shot on original locations in Berlin. Individual scenes, including the final scene by Hermann Beyer and Christine Schorn in the morning, were shot in Helga Schubert's apartment, who wrote the script for the film. The production design is by Georg Kranz , the costumes were created by Christiane Dorst , Herbert Henschel and Ruth Leitzmann . The cast also included amateur actors who portrayed their actual profession in film. This led to a mixture of film and reality in the partly improvised dialogues, for example in a scene in which Christine Schorn, as Inge Herold, learns about her illness from the doctor:
"She [Christine Schorn] is sitting in a lace petticoat, with a chain around her neck, in front of the doctor, who is actually the clinic's chief doctor. She asks questions, listens for tones in his answer that could reveal more to her, looks for something he doesn't say, quickly asks something else. She feels herself losing control, her voice grows rough, her hands flutter. She breathes, breathes. Then the doctor crosses the barrier between his film role and his profession, the woman needs him, he can no longer play, the profession breaks through, and he tries to calm down the desperate woman. "
Shooting lasted until June 1981. The film premiered on February 18, 1982 in the Berlin Kino International and was released in GDR cinemas the following day. With 4.3 million viewers, Die Beunruhigung was one of the most popular DEFA films in the GDR. From September 10, 1982, the film was also shown in German cinemas and was shown for the first time on GDR television on October 18, 1983 on GDR 1 .
The alarm is one of the few women’s films that DEFA has produced. As in all my girls or guarantee for one year is also the concern "viewed against each other as the underlying cause for despair of women indifference" the.
criticism
Günter Agde found in the film mirror that the film “enables deep, true glimpses into someone else's life, into his hopes and needs, his strength and his fears. It touches, stirs up, holds your breath away, makes you think about your own life all the time. At the same time, the film shows unobtrusively and easily that this single person lives in our country, a neighbor, a fellow human being of each of us. ”In the film, director Warneke mixes“ professional actors with amateur actors. He succeeds in many scenes of great strength and conviction ”. Other critics pointed out that cinematographer Plenert's “feeling for everyday life… largely set the mood for the film. There is a new scrutiny, a view of incidental matters that could become the main ones. He withstands a rigor, the arrangements of satisfaction do not occur with him. "
Fred Gehler criticized on Sunday that "finding the right and understanding partner [...] here always puts the world back on track and [...] makes the disquiet disappear." He saw no enrichment in the documentary character of the film Film and asked: “What is the aesthetic gain if a porter in the film is also a porter in reality, the chief physician really the chief physician, a patient an actual patient, etc.? Do I bring in more 'reality'? "
“Conventional and inconspicuous in its design, the film captivates with its sensitive and spontaneous direction, which conveys the message of 'affirmation of life' without excessive clarity or ideological secondary tones. Thomas Plenert's documentary camera [...] contributed significantly to the authenticity of the film, ”wrote the film-dienst . For Cinema , Die Beunruhigung was a “DEFA jewel: realistic and psychologically consistent”.
Awards
The disquiet received the state rating of “valuable”.
At the 2nd National Feature Film Festival of the GDR in Karl-Marx-Stadt , Die Beunruhigung received the 1982 award for scenario (Helga Schubert), camera (Thomas Plenert), directing (Lothar Warneke) and editing (Erika Lehmphul) as well as the actor award for the female Leading role (Christine Schorn) and a female supporting role (Walfriede Schmitt). In addition, he was honored at the feature film festival with the Great Steiger of the audience jury for the most effective film.
Christine Schorn and Hermann Beyer were awarded the GDR Film Critics Prize for 1982 for the best performance in cinema and television. In addition to Die Bleierne Zeit and Die Refusal , Die Beunruhigung also received the award for "Best Films from the 1982 Annual Range of Progress Film-Verleihs" from the film critics.
literature
- F.-B. Habel : The great lexicon of DEFA feature films . Schwarzkopf & Schwarzkopf, Berlin 2000, ISBN 3-89602-349-7 , pp. 73 .
- Ralf Harhausen: Historical film analysis by Lothar Warnekes THE DISRUPTION (1982). In: Gebhard Moldenhauer [ua] (Hrsg.): Insights into the reality of life in the GDR through DEFA documentary films. Oldenburg 2001 (= Oldenburg contributions to GDR and DEFA research, vol. 1), pp. 99–125.
- Regine Sylvester: DEFA-Report: The disquiet - It could have been life, but it was a film . In: filmspiegel , No. 13, 1981, pp. 3-7.
Web links
- The concern in the Internet Movie Database (English)
- The concern at filmportal.de
- The concern at the DEFA Foundation
Individual evidence
- ↑ According to the film. In the literature, however, the name is incorrectly given as "Lutz".
- ↑ F.-B. Habel : The great lexicon of DEFA feature films . Schwarzkopf & Schwarzkopf, Berlin 2000, ISBN 3-89602-349-7 , pp. 73 .
- ↑ Regine Sylvester: DEFA-Report: The Unrest - It could have been life, but it was a film . In: filmspiegel , No. 13, 1981, p. 6.
- ↑ 'It [the film] cost about a third of the usual'. Cf. Regine Sylvester: Between life and death it's about life . In: Tribune , February 19, 1982.
- ^ A b Regine Sylvester: DEFA Report: The Unrest - It could have been life, but it was a film . In: filmspiegel , No. 13, 1981, p. 7.
- ^ Regine Sylvester: Christine Schorn . In: Horst Knietzsch: Prisma Kino- und Fernseh-Almanach 15 . Henschelverlag, Berlin 1985, p. 49.
- ↑ a b Compare. The concern on progress-film.de ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ Elke Schieber: Beginning of the End or Continuity of Suspicion 1980 to 1989 . In: Ralf Schenk (Red.), Filmmuseum Potsdam (Hrsg.): The second life of the film city Babelsberg. DEFA feature films 1946–1992 . Henschel, Berlin 1994, p. 268.
- ^ Günter Agde: Welcome challenge: The disquiet . In: Filmspiegel , No. 5, 1982, p. 14.
- ↑ Regine Sylvester: Between life and death it's about life . In: Tribune , February 19, 1982.
- ↑ Fred Gehler: Rush to calm down . In: Sunday , March 7, 1982.
- ^ The concern. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ↑ See cinema.de
- ↑ See the disquiet on defa.de.
- ^ Prize of the GDR film criticism . In: Horst Knietzsch: Prisma Kino- und Fernseh-Almanach 15 . Henschelverlag, Berlin 1985, p. 44.
