Heidi Handorf

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Heidi Handorf in May 2017

Heidi Handorf (born February 5, 1949 in Uetersen , Schleswig-Holstein ) is a German film editor . In the 1980s she was one of the most important editors of West German film , particularly through her collaboration with the directors Edgar Reitz (12 films) and Reinhard Hauff (6 films). Further close partnerships arose from the 1990s with Matti Geschonneck (10 films) and Oliver Storz (4 films).

In her 40-year career Heidi Handorf was over 80 long theatrical and television films for mounting responsible; there are also almost 50 episodes of various television series, such as B. News from Uhlenbusch . Her important works for the cinema include Stammheim (director: Reinhard Hauff), who won the Golden Bear at the Berlinale in 1986 ; Austrian connection -Drama 38 - That was Vienna (directed by Wolfgang Glück ), which in 1987 for the Oscar as best foreign language film was nominated; and the theatrical version of Kaspar Hauser (director: Peter Sehr ), which was awarded the German Film Prize in 1994 (Filmband in Gold) . Her most outstanding assembly work is the 11-part television series Heimat - Eine deutsche Chronik by Edgar Reitz, published in 1984 , which has received numerous prizes, including the Adolf Grimme Prize .

life and work

education

Heidi Handorf began an apprenticeship as a photographer in Elmshorn in 1968 , which she completed with a journeyman's certificate. In 1969 she came to the lab Geyer in Hamburg, where they, among other color timer learned. From 1970 she completed an apprenticeship as an assistant editor & “young cutter” at Neue Deutsche Wochenschau GmbH . This training also included negative editing, creating music and setting to music . Handorf's first own editing work was done in 1972 in the advertising sector, as a permanent employee of a Munich production company. Since then she has lived in Munich .

Assistant editor and script / continuity

From 1973 Heidi Handorf worked as a freelancer and soon became an assistant editor for major films such as In Danger and Greatest Need, the Middle Way Brings Death (1974) and The Lost Honor of Katharina Blum (1975). The film editors with whom Handorf was able to assist and learn in this early phase of her career are Inez Regnier , Jane Seitz , Beate Mainka-Jellinghaus and Peter Przygodda - all masters of their fields and influential personalities of New German Cinema .

In the 1970s, Handorf also took part in some feature films as a script / continuity . In Die Lost Ehre der Katharina Blum and Paule Pauländer , she was even hired as script / continuity and assistant editor at the same time; a double role that she later no longer fulfilled. Only in the 1981 film Der Neger Erwin by Herbert Achternbusch does she appear again in several functions at the same time: as editor, assistant director and script / continuity - not untypical for the Achternbusch productions, which are mostly made with a small staff and an even smaller budget.

Early career as an editor (1976–1990)

The first full-length film that Heidi Handorf edited as an editor on her own was the television comedy I am called Marianne, and you ...? Produced by Bernd Eichinger . (1976), directed by Uschi Reich . For the popular children's series Neues aus Uhlenbusch (director: Rainer Boldt) she edited eight of the forty episodes from 1977 onwards, as well as a cinema adaptation: I had a dream (1980).

Films by Edgar Reitz

Handorf had already edited seven feature- length films when Edgar Reitz brought them to the core team in the autumn of 1980 for the montage of his documentary Stories from the Hunsrückdörfern , which would soon begin shooting the lavish TV epic Heimat . Reitz and his co-author Peter Steinbach had recorded many life stories and customs of the long-established Hunsrück population during their research in the region around Woppenroth , and thus collected rich material for a kind of prologue to the Heimat series . The calm and personal documentary already shows some of the design features of the later Heimat feature films , such as the mixture of black and white and colored passages. The individual scenes were not dealt with chronologically by Reitz and Handorf, but rather interwoven in a parallel montage. The interruption and resumption of narrative strands creates the impression of simultaneity.

The 11 films in the first Heimat series, which were shot from April 30, 1981 to October 31, 1982, represent an early high point in Handorf's career. From June 1981 she was editing on location in the Hunsrück, supported by alternating editing assistants. This was followed by another year of editing with Reitz in Munich from November 1982 to December 1983, so that Handorf was busy with the 15-hour work for two and a half years. A total of 320,000 meters of 35 mm film had been exposed during the 282 days of shooting , resulting in 195 hours of raw material. In the montage, Reitz and Handorf designed essential passages differently than they were laid out in the script. The time level of 1980, which was originally intended to form the framework for all other episodes, was instead converted into an epilogue. The use of Glasisch-Karl as a narrator and chronicler of the village was an idea that only arose during the editing.

The cinematic qualities of Heimat - Eine deutsche Chronik meant that despite its length, the series was not only shown on television, but was also shown at film festivals and in cinemas. Heimat has received awards worldwide, including the International Film Critics' Prize ( FIPRESCI ) at the Venice Film Festival in 1984, the Golden Camera in 1984, and the Adolf Grimme Prize in 1985 and 1986 . The assembly also found international recognition. It was described as “subtle and haunting”, and its stylistic change in the course of the 11 films was understood as symbolic of the slow decline of the homeland: “The meditative, poetic qualities of the first episodes are gradually being replaced by a more garish, harsh and disharmonious film style who announces the coming destruction of the homeland. "

Films by Reinhard Hauff

Heidi Handorf's second important creative partnership in the 1980s also began with a documentary film: Immediately after home , she edited Ten Days in Calcutta , the first film by director Reinhard Hauff for which she was responsible for editing. She had previously worked on three of his feature films as an assistant editor or script / continuity. The portrait of the Bengali-Indian director Mrinal Sen , whom Hauff interviewed during street walks, among the crowds, with friends or on his film set, is the third and final documentary in Handorf's filmography.

Handorf's collaboration with Hauff continued with Stammheim , one of the most important and most controversial films in German cinema in the 1980s. The oppressive intimate play about the Stammheim trial against the leaders of the first RAF generation adheres closely to the court minutes uncovered by the journalist and screenwriter Stefan Aust , but does not attempt to cast the historical characters as faithfully as possible in the style of a docudrama . Hauff's artistic approach of allowing the contrasting linguistic worlds of the Baader-Meinhof Group and the state lawyers to collide in high concentration without socio-political classification or own evaluation, polarized viewers and critics. The Berlinale jury, which awarded the film the Golden Bear in 1986 , was also deeply divided: Jury President Gina Lollobrigida broke her obligation to maintain confidentiality at the award ceremony in order to publicly protest the decision.

The next feature film that Handorf edited for Hauff was Naughty Eyes , for whose plot child kidnapping and forced adoptions of the Argentine military dictatorship form the background. Blauäugig received the UNICEF Prize at the 1989 Venice Film Festival . In 1990 the three-part TV thriller With the Clowns followed, based on a template by Johannes Mario Simmel . This was Handorf's last project with Reinhard Hauff, who subsequently ended his directing career to devote himself to the management of the German Film and Television Academy Berlin (dffb) .

Other films from the 1980s

In addition to the projects by Reitz and Hauff, Heidi Handorf also edited feature films by Florian Furtwängler (Tommaso Blu) and Vadim Glowna (Des Teufels Paradies) in the 1980s . She worked with director Wolfgang Glück on 38 - That was Vienna , too , which in 1987 was nominated as an Austrian contribution for the Oscar / Best Foreign Language Film . Another international project was the 4-part TV miniseries Hemingway by director Bernhard Sinkel , where Handorf was responsible for editing the European version while film editor John Carter edited the American version.

Later career as an editor (1991-2014)

From the 1990s onwards, Heidi Handorf worked almost exclusively on television films and series. She was still involved in three cinema films: For Der Kinoerzähler (director: Bernhard Sinkel ) she was nominated for the German Camera Prize in 1993 in the category of best film editing . In the same year she created the 139-minute theatrical version for Peter Sehr's Kaspar Hauser film, after her colleague Susanne Hartmann had initially cut a much longer version, which was then broadcast as a 180-minute TV two-parter. Compared to the television version, the cinema version, completely re-assembled by Handorf, had a different weighting and a different rhythm. In 1994 this version won the gold film volume of the German Film Prize . Handorf also worked with director Peter Sehr on her last feature film, the 1997 German-French co-production Obsession .

Films by Matti Geschonneck and Oliver Storz

In 1994 Heidi Handorf began a very productive partnership with director Matti Geschonneck . The 45-minute television play Der gute Merbach formed the prelude ; by 2002, nine more full-length TV feature films followed. Fear has a cold hand (1995) and A murderous plan (2000) deserve special mention , for which Handorf was nominated for the German Camera Prize in the category of best TV film editing . The psychological thriller The Murderer and His Child (1995) also received an award: Ulrich Tukur won the Golden Camera for his portrayal of an inconspicuous sex offender . The last joint work was Die Mutter , for which Matti Geschonneck received the Bavarian Television Prize in 2003 for best director.

Handorf had already cut the TV feature film An obvious murder with director Oliver Storz in 1988 . Three more productions followed in the 2000s: In 2003, the multi-award-winning two-part TV series Im Schatten der Macht , which prepared the last two weeks of Willy Brandt's chancellorship and his resignation as a result of the Guillaume affair , was released. The feature film partly adheres to historical facts, but also weaves in fictional storylines. This was followed by the productions Drei Schwestern - Made in Germany (2005) and The woman who disappeared in the forest (2009), which are also the last directorial work by Oliver Storz, who died in 2011.

Career end

Heidi Handorf remained extremely creative throughout the 2000s; for example, four of her edited television games were released in 2005, and five in 2010. She continued to work with a number of well-known directors, e. B. Dieter Wedel , for whose 6-part TV miniseries Die Affäre Semmeling she edited two episodes in 2002; Volker Schlöndorff , whose theater adaptation Enigma - an unacknowledged love she cut in 2005; and Kai Wessel , in whose two-part war displacement drama Die Flucht she was involved in 2007 together with co-editors Carsten Eder and Tina Freitag . Also worth mentioning from this phase is the feature film In Another Life (2005, director: Manuel Siebenmann ) , which also deals with the end of the war and tells the fate of a Sinti woman who escaped from the concentration camp ; and the two-part SAT1 event film Miss Texas (2005, director: Ute Wieland ), about a German photojournalist who falls in love with a Texan cowboy.

Towards the end of her career, Heidi Handorf mainly worked on love films and comedies (several times with director Dietmar Klein ), as well as episodes from popular TV series such as Lilly Schönauer , and series such as Samt und Silk , Alles Klara or Forsthaus Falkenau . Her last film was the 2014 comedy My Mother, My Men (Director: Karola Hattop ).

Heidi Handorf on May 6, 2017 as a new honorary member of the FSO

Professional association

Heidi Handorf is a member of the Bundesverband Filmschnitt Editor eV (BFS) , which she already joined in 1984 in the year it was founded. From 2006 to 2008 she was on the board. In May 2017 she was made an honorary member of the association.

family

Heidi's 11 year younger brother Klaus Handorf is also an editor, with a focus on television series. At the very beginning of his career he was involved in the shooting of Heimat - A German Chronicle as one of several recording heads involved.

Awards

Filmography

As an assistant editor

As a script / continuity

As a film editor

Web links

Commons : Heidi Handorf  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d New honorary member Heidi Handorf. Bundesverband Filmschnitt Editor eV (BFS), May 13, 2017 .;
  2. ↑ Berlinale Prize Winner 1986. Berlin International Film Festival;
  3. ^ Oscar award ceremony 1987. Academy of Motion Picture Arts and Sciences;
  4. ^ Winner of the German Film Prize 1994. (No longer available online.) German Film Academy , archived from the original on December 25, 2016 . ; Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.deutscher-filmpreis.de
  5. ^ Adolf Grimme Prize 1986. Grimme Institute;
  6. ↑ "The Negro Erwin". filmportal.de;
  7. ↑ Stories from the Hunsrück villages. Edgar Reitz film production;
  8. ↑ Edgar Reitz u. Peter Steinbach: Heimat - A German Chronicle . Greno, Nördlingen 1985, ISBN 3-921568-20-X , p. 563 .
  9. ↑ Edgar Reitz u. Peter Steinbach: Heimat - A German Chronicle . Greno, Nördlingen 1985, ISBN 3-921568-20-X , p. 6 .
  10. ↑ Original quote: "subtle, incisive editing" - from: Jessica Winter, Lloyd Hughes, Richard Armstrong, Tom Charity: The Rough Guide to Film . Rough Guides, London 2007, ISBN 978-1-84353-408-2 , pp. 453 .
  11. ↑ Original quote: “The style of editing and photography employed in Heimat also complements Reitz's account of the gradual decline of heimat. (...) The meditative, poetic qualities which characterized the opening episodes of the film are gradually replaced by a more gaudy, abrasive and discordant style of film-making, which also signals the coming destruction of Heimat. «- from: Ian Aitken : European Film Theory and Cinema: A Critical Introduction . Indiana University Press, Bloomington 2001, ISBN 978-0-253-21505-5 , pp. 218-222 . - quoted from 953 (95). Heimat (1984, Edgar Reitz). Kevin B. Lee, Jan 31, 2009 .;
  12. ↑ "10 Days In Calcutta" - Synopsis by Eleanor Mannikka. All Movie Guide;
  13. ↑ Wilhelm Bittorf : The feeling that one's head explodes . In: Der Spiegel . No. 5 , 1986, pp. 160-168 ( online ).
  14. ↑ The vote was prefabricated . In: Der Spiegel . No. 10 , 1986 ( online interview with Gina Lollobrigida on the reasons for her rejection).
  15. ^ Hemingway film dates. bernhardsinkel.com;
  16. ↑ Accompanying text in the submenu "Peter Sehr - Regie" on the DVD Kaspar Hauser , Publisher: VCL Communication, 1999.
  17. ^ Bavarian Television Prize 2003 - The Prize Winners. Spotlight: Film via Mediabiz , May 21, 2003 .;
  18. ↑ Klaus Handorf. IMDb;
  19. ↑ Klaus Handorf. filmportal.de;
  20. ↑ The nominees for the 2019 cut prices have been announced. August 20, 2019, accessed August 27, 2019 .
personal data
SURNAME Handorf, Heidi
BRIEF DESCRIPTION German film editor
DATE OF BIRTH February 5, 1949
PLACE OF BIRTH Uetersen